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CT 21209 bgo "878

Tarvaro College Library

CHAS. W. SEVER, |
Publisher, rand

3 2044 102 876 349

“OL rur Cs ohy lus the thundnnu!

D. Brourw
fo. 1 ung.

| 4 ) Munk thin Hrd ora down the r aven

fe ti ten pri pie,
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ik duct fedet the agel PA
Chadd Like Poma me, prome

Jat diver & hadru! as May M

Sunt wih Me caeh, Ff dm ko, ened a

blu of pins

Jn the full rak Z Coderrece, Z< "

AEH Ki Mg Bass s Seron om im A diry fitan ”

Clarendon Press Series

AESCHYLUS

PROMETHEUS BOUND

WITH INTRODUCTION AND NOTES

BY

A. O. PRICKARD, M.A.

FELLOW AND TUTOR OF NEW COLLEGE

Oxford

AT THE CLARENDON PRESS

M DCCC LXXVIII

[AU rights reserved ]

QA B. Hite

London

MACMILLAN AND CO.

PUBLISHERS TO THE UNIVERSITY OF

Oxford

PREFACE.

Tue text of this edition is, with the exceptions noticed
in the Appendix, that of Dindorf's Second Edition
(Oxford, 1851). Where this has not been followed, the
change has almost always been made in favour of a
reading which has manuscript authority as against one
which rests on conjecture. Entire consistency can scarcely
be looked for in such a process: the general aim has
been to combine the practical advantages of a familiar
text with the greater respect to Aeschylean MSS. which
scholars now allow to be their due. In one noteworthy
passage (l 49), where Dindorf gives the reading of the
MSS, a time-honoured conjecture has been admitted.
Several of the variations will be found in Dindorf's last
text (1869); but it has been thought better to make his
earlier one (which is substantially that of the older *Poetae
Scenici, &c.), the basis of that now published.

In the notes the editor has wished to give all necessary
explanation of the text as printed—

ovyav 6° brov Bei, kal Adyow Tà kaipa.

They are intended for those who read this play at an
early stage of their study of Greek. As far as possible,
_ all controverted matter, of text or of interpretation, has
been avoided. Happily the play is one in which this can

iv PREFACE.

be done with comparative impunity: still the ungracious-
ness has often been felt of giving ‘a silent vote’ where the
views of eminent scholars are divided. But it is to be
remembered that, in the case of a writer so straight-
forward as Aeschylus, only one view of his meaning can
be right; therefore the choice of some one must at last
be made, either by the editor, or by the reader; all
other views go for nothing, so far as the interpretation
of the author, the first duty of both editor and reader,
is concerned.

References to other plays and other authors have been

very sparingly given; to passages in the play itself more
copiously. It has been said that * Aeschylus will generally
be found his own best interpreter, and the truth of this
may be abundantly seen, even within the compass of one
short play. <A careful reading of almost any part of
Homer will suggest valuable illustrations of the language
and thoughts of Aeschylus.
. It is perhaps unnecessary to acknowledge assistance
throughout derived from Mr. Linwood's Lexicon to
Aeschylus, and Mr. Paley's editions. Liddell and Scott's
Lexicon is specialy rich in information about this
play, and should be constantly at hand. For some of
the matter of the Introduction the editor is indebted
to Professor Westphals most interesting essay on the
Prometheus Trilogy.

AUGUST 1, 1878.

INTRODUCTION.

WHEN Chaos came to an end, the first rulers of the
Universe were Earth and Heaven. Earth bore many chil-
dren ; among whom were Ocean, and the Titans, and the
Cyclopes, and the Giants, such as Cottus, and Briareus,
and Gyes. But one of her sons, Cronus, rose up against
his parents, and seized the throne for himself. He did not
enjoy it long unpunished ; for Zeus, his son, overthrew him,
and became lord, the third in succession. But before he
was seated firmly on his throne he had a great battle to
fight with the Titans, which lasted ten years, and ended in
the complete victory of Zeus. The Titans were sent down
to the lower darkness, as Cronus had been before them ;
and Zeus established his rule firmly, allotting to the other
Gods, whom with him we call the Olympians, their several
offices.

At the time of this conflict we first hear of Prometheus.
He was son of Iapetus, a Titan, and Atlas was his brother.
But he is sometimes spoken of as though he were himself
a son of Earthanda Titan. Endowed with foresight to read
the future, he counselled his kinsmen, the Titans, not to
come to a trial of strength with Zeus, but to make the best
terms they could with the conqueror who was to be. They
would not listen to him, but scorned his politic advice.
Then he saw nothing left for him but to stand by Zeus, and
the defeat and punishment of the Titans was in large part
due to him. |

Zeus was not in these early days of his power the bene-
ficent ruler of whom we read in Homer, ‘the father of Gods
and men.’ No sooner was his victory secured, than he
displayed all the insolence of an usurper, to whom authority
is a new thing, drawing all the reins of power into his own
hands, recognising no law but his own will, and trusting no

| b

vi INTRODUCTION.

one but himself. If this was his behaviour towards the
Gods who were his kin, men came off far worse. Miserable
and brutish as their state was, he would take no heed of
them ; but was even ready to sweep away their whole race.
But Prometheus withstood the tyrant to his face, for he saw
that men were capable of better things. And first he stole
fire, which Zeus had expressly refused them, carrying it
down in a hollow reed from heaven. With this he taught
them many arts, which could not be practised without fire.
He taught them also to count, number being the key to all
sciences ; and gave them the faculty of memory; and he
shewed them how to break horses for use, and to sail the
sea in ships, and to cure diseases, and to read dreams.
But above all he gave them Hope, that they should not be
always looking forward to death, but, buoyed up by hope,
might endure the life of the present.

This interference between the tyrant and his creatures
was more than Zeus could brook. He sent his messengers
to seize Prometheus and bind him fast in a rocky gully in
Scythia, or, as most say, to a crag in the Caucasus ; there,
till Zeus should be pleased to loose him, to expiate his great
offence. Further he sent an eagle, or vulture, to visit
him from time to time, and torture him by preying upon his
liver. But Prometheus, strong in the righteousness of his
purpose, and in his full knowledge of all that was before
him, and moreover knowing that he possessed a secret which,
though not till after many hundred years of agony, would
enable him to dictate his own terms to Zeus, would not
lower his tone ; but scorned the threats, and turned a deaf
ear to the overtures, of the ruler of Olympus.

Such is the story set before us by Aeschylus in the
‘Prometheus Bound,’ and almost every detail given above
can be supplied from that play; which is so arranged that
no spectator, however uninformed, could fail, if he listened
attentively, to catch the drift.

But the story, as it came into the hands of Aeschylus in
older poems which we can still read for ourselves, such as
those of Hesiod, contained many other incidents. Some of
these Aeschylus passed by, as being good enough allegory,
but little to the purpose of the great main drama, or action,

INTRODUCTTON. Vil

which he had chosen to set forth. Such, for instance, was
the account of the brother Epimetheus ; who was wise after
the event, as Prometheus, whose name signified ‘ fore-
thought,’ was wise before it. Others were simply childish ;
as the tale that, in apportioning the flesh of an ox, Pro-
metheus had played a trick upon Zeus, and so raised his
anger. And these could be of no use in a play addressed to
the highest feelings of cultivated Athenians.

The part of the story actually comprised in the ‘Pro-
metheus Bound’ is very small It is confined to the exhi-
bition of Prometheus being bound to his rock by the agents
of Zeus, and afterwards discoursing to certain persons who
in succession visit him there. The play ends, as its second
scene (if we may use the word) begins, with a defiant appeal
to the powers of Nature to witness the tyranny of Zeus ;
which is then visibly made manifest in a mighty convulsion
of the elements, overwhelming, but not overawing, the
chained Immortal. In one sense the action does advance ;
for, through what falls from Prometheus, we see our way
forward to a solution in the far future ; but nothing passes
before the senses of the spectator which makes any change
in the dramatic situation itself.

Let us ask what special points of interest we are likely to
find in such a drama?

In the first place, we have a display of human action pre-
sented to us on a great scale. Though the persons who
take part in it are Gods, and Titans, and Nymphs, yet they
all act, and feel, and think, as men and women. Just as
Aeschylus himself and the other tragedians chose from
the materials found in the epic poets such stories of
royal houses as they felt to be suitable to their art—
those for instance of Thebes and Mycenae—in order that
they might shew their countrymen life like that of Athe-
nian men and women, but magnified and ennobled ; so here,
in the loves and strifes of these superhuman beings, Aeschy-
lus intends us to see character as truly human as is that’ of
Satan or of Abdiel in our great English epic. It is character-
istic of the gentler genius of Sophocles that he forbore to
treat the story of Prometheus ; Euripides did dramatise it,
but in what spirit we do not know ; it is a theme eminently

b2

viii INTRODUCTION.

well suited to Aeschylus; and, had this play been only
known to us by name, we could to a great extent judge how
immense would have been our loss.
Passing from the story itself to its treatment by the poet,
itis clear, from what was said above, that we are not to
expect the interest to be artificially sustained, as in the
‘Oedipus Tyrannus, by an elaborate plot. There is no
series of incidents by which the fortunes of the hero pass
from the height of good to the depth of bad fortune ; still
less is there, as in the play just named, that ingenious ar-
rangement (known to Greek critics as mepurereia) by which
the real tendency of the action is masked, so that what
seems to be making for the hero's happiness is in reality
contributing to his downfall. Nor is there any room for those
brilliant surprises, as ‘effective on the ancient as on the,
modern stage, by which an apparent stranger is shewn to
be a person of first-rate importance to the plot, and its
course entirely changed by the discovery (dvayvopuats).
What we ate to look for is firstly suffering; so real as to
appeal straight to our deepest feelings, but so grand as to
chasten and subdue their outburst. And, secondly, cha-
racter. Few plots could be better devised for the exhibition
of character than one in which a many-sided hero like Pro-
metheus, his nature stirred to its depths by injustice done to
himself and to others, is brought into contact successively
with persons so varied as are the remaining actors in the
drama. This will be seen most clearly by an examination
of the play itself. We must add two other points of attrac-
tion, which many at least of the audience must have found
in it. One was the weird and supernatural element which
pervaded the piece ; the strangeness ofthe mountain scenery,
the presence of gods and nymphs on the stage, the aerial
cars of Ocean and his daughters, the appearance of Io.
The other is to be found in the account of regions lying
on the limits of the habitable world, known as yet dimly
and by legend, but which the adventurous spirit of travel-
lers like Herodotus was soon to win for the domain of
geographical knowledge. Lastly, though the plot itself is,
as we said, extremely simple, it has all the interest of a
well-told tale; the prophecies of Prometheus being cunningly

LI

INTRODUCTION. Ix.

elicited from him, broken off when the interest is thoroughly
awakened, and resumed at the right moment, according to
the example set by Homer in that best of stories, the
Odyssey.

The several Acts of the play correspond to the ‘ parts’
into which Greek plays were technically divided by ancient
critics, so far as that division can be properly applied to
plays so early as those of Aeschylus. It will therefore be
convenient to take these parts in order.

I. IIpóAoyos : (all that part of the play which precedes the
entrance of the Chorus, ll. 1-127).

The play opens in the mountains of Scythia. Aeschy-
lus has not here, as in one at least of his lost plays,
followed the usual story, which described Prometheus as
chained to a crag in the Caucasus, identified by later
legend with Kazbek, one of the highest peaks of that range.
A ravine, or gully, occupies the centre of the view shewn
to the audience; and in it Prometheus, represented by
a huge wooden effigy, is placed. Three other figures are
seen ; those of Strength and Force, two demons, sons of
Styx, never far, Hesiod tells us, from the presence of
Zeus; and that of Hephaestus, who is their unwilling
companion. Only one of the demons speaks ; and he gives
his orders to the God with the utmost harshness and
insolence. Hephaestus’ patience is sorely tried, but he
must needs obey the orders. The unwelcome task at last
over, he calls on his companion to come away, which, with
a last scoff at the prisoner, now firmly secured, the other
consents to do. In this scene the physical details are
brought plainly before the audience. The ringing strokes
of the god's hammer are heard far over sea and land, the
stake is visibly driven through the middle of the body.
Probably the superhuman size of the effigy and its palpably
wooden construction went far to make the representation
tolerable even in an Athenian theatre.

We have now had the situation presented to us in a sin-
gularly bold and effective opening. No one of the audience
can fail to understand where and how the action is pro-
ceeding. Moreover, from the way in which Hephaestus is
treated, we are prepared to find how oppressive and un-

x INTRODUCTION. '

constitutional is the new despot of Olympus. Hephaestus
is himself an Olympian God ; mild and good-humoured in
disposition, he is in Homer the butt as well as the crafts-
man of the other Gods, and he stands in wholesome awe
' of the power of Zeus.

As soon as his tormentors have departed Prometheus
breaks silence. In a dignified appeal to the powers of
Nature, in the midst of which he hangs; the air rushing
thinly past him, the mountain-sources of great rivers,
the distant rippling Euxine, Mother Earth beneath his
feet, the Sun, whose eye sees all; he calls upon them to
witness how greatly and how unrighteously he suffers.
Then the thought of his own full knowledge of the future
and of his real greatness of purpose arises to stay any pas-
sionate thoughts, and to nerve him to bear the bitter
present.

II. HapoàƏos and First émeuó0io, ll. 128-397.

As he ponders on these things he becomes aware of some
new presence ; it draws nearer, and the air is audibly beaten
by wings, while a faint sea smell heralds his visitors, the
daughters of Ocean, who form the Chorus. They have
heard afar in their deep sea-caves the noise of the hammer-
ing, and have come forth, drawn by curiosity and by fear,
laying aside their maidenly reserve, and even coming out
without their sandals. We are left to picture to ourselves
how—

* Afar, like a dawn in the midnight,
Rose from their seaweed chamber the choir of the mystical sea-
maids.’

Aeschylus only shews us how they arrive wafted by wings
through the air, from which they at last (1. 275), in com-
pliance with Prometheus’ earnest request, alight. These
are no conventional Chorus, to offer prudent advice, and to
draw moral conclusions ; but are real persons, consistent to
themselves, and as beautifully conceived as are Nausicaa
and her handmaids. Maidenly and modest, full of womanly
curiosity and womanly pity, most happy when there is
something practical to be done, with the simplest concep-
tions of duty and piety, yet unshaken in their resolve to

INTRODUCTION. xi.

stand by their injured friend at whatever cost to themselves,
they admirably relieve the sternness of the play. And in
dealing with minds so eager to sympathise, yet so little able
to sound the depths of his purpose, the gentler side of
Prometheus’ nature comes clearly out. Nothing can exceed
the courtesy and respect with which he treats them, answer-
ing or parrying their questions with all good-humour, asking
pardon for his silence, and mediating, as we see him do, with
Io, to secure them tbe pleasure of hearing her story from her
own lips.

There is, strictly speaking, no mdápoBos (entrance-song),
the Chorus at once beginning a lyric dialogue with Pro-
metheus, their part in which falls into strophe and anti-
strophe. The émeoddiov, or Act, which is thus begun, is
in two parts.

(a) In the preliminary dialogue, ll 128-275, the Chorus
assure Prometheus that their hearts are with him, and speak
in unexpectedly severe terms of the iron rule of Zeus.
Prometheus drops some hints as to the secret which will
one day put Zeus into his power ; but the Chorus receive
these rather as the proud words of an injured spirit than as
being really prophetic. In answer to their questions, he
proceeds to tell them the whole story of his offence against
Zeus, allowing that it was deliberate, and only complaining
that the punishment was disproportionate and capricious.
Finally, he invites them to descend to earth, and listen to
what more he has to tell them. They obey, leave their
aerial station, and arrange themselves in the ‘ Orchestra’ in
front of him, ready to be attentive listeners.

(b) But the narrative is broken off by the entrance of
a new person. This is Ocean, the father of the Ocean
‘nymphs ; who arrives in a car drawn by a griffin, or some
fanciful winged beast. He is one of the gods of the old
order, a son of Earth, who has been reconciled to Zeus,
and has found it possible to live on the terms dictated by
the conqueror. He has heard with sincere regret of his
kinsman’s trouble, and comes to offer sympathy and advice,
enforcing the latter with many an old saw, and many a
word of caution. The pride of Prometheus is deeply hurt
both by the sympathy and by the advice; he answers with

x INTRODUCTION,

extreme dryness to the platitudes of Ocean, expressing
wonder that he should have thought it worth while to leave
his streams and caves to come and see so sorry a spectacle,
and charging him, as he valued his own safety, not to inter-
vene in the contest, even as mediator. Ocean, who has
come to give good advice, and does not relish listening to
it, at last gets somewhat hot ; but he is really zealous to
serve his friend, and it is only on a suggestion from Pro-
metheus that any attempt to mediate may but serve to in-
crease the present punishment, that he offers to go. He
now remembers that his griffin must be impatient to get
home to his own stable ; and so in his odd equipage the
old God starts off, and leaves Prometheus and the Chorus
alone together once more.

(During the visit of Ocean his daughters have not spoken.
They had with difficulty obtained his consent to their own
absence from home, and perhaps were not very anxious to
be seen by him. But as they have been standing in the
Orchestra while his car has been hovering over head, they
have not met his eye. Now that he is gone, they break into
a short song (the First ordotpoyv), mourning for the fall of the
grand old system of Cronus and his peers, and for the fate
of Prometheus, which is bewailed by men in every land, as
is that of his brother Atlas by sea and the depth beneath it).

III. Second éerecoddcov—lines 436-525.

Prometheus now Speaks, not to continue the promised
` account of his future sufferings, but to ask pardon for his
silence, caused by pondering on the ingratitude of Gods.
On that he will not dwell, but tells his hearers at full length
of all the good things of which he was the author for men.
To a well-meant, but ill-grounded, remark of the Chorus, that
surely one who has so mightily helped others will one day
hold his head higher than Zeus, he answers mysteriously—
he will indeed one day be freed, but it will be by the inter-
vention of Necessity, which Fate, not Zeus, directs. Pressed
to say how this is to be, or how anything can be in store for
Zeus save to reign for ever, he declines: this is his secret,
and the present is not the time for it to be revealed.

(The Chorus, in an Ode of Sophoclean sweetness, (the
Second ordowpoy), pray that they may never, on their part,

INTRODUCTION. xili

thus cross the path of Zeus, nor fail in their simple duties,
nor offend in their words ; but may live in bright innocence,
linking day to day by hope and joy. How sad Prometheus'
case! how differently was it with him on the day when he
led Hesione home, his bride, and the Ocean nymphs joined
in the marriage-hymn !).

IV. Third éreodd:ov—lines 561-886.

This simple prayer of the nymphs brings them into
strange contrast with the person who now appears, and
whose presence causes an interruption to the plot during
the whole of this division of the play. Io, daughter of Ina-
chus, king of Argos, was, while yet in her father's house,
‘vexed by nightly visions, which told her that she was be-
loved of Zeus. Her father sought an interpretation from
many oracles ; and was at last plainly told to set her out of
'his house, that she might be a wanderer on the face of the
earth. With a heavy heart he obeyed ; and instantly, by
the jealous wrath of Hera, her form was turned into that of
a heifer ; and the herdsman Argus, with myriad eyes look-
ing every way, was set to drive her from land to land. When
he was killed by Hermes, a fresh plague succeeded, the
gad-fly, which torments cattle ; and so the poor maiden had
no rest. She has now reached the desolate region where
Prometheus is chained; and appears suddenly, with her
strange, unnatural figure and gait, upon the stage. While
she is uttering a wild cry of pain, she becomes aware that
she is in the presence of another sufferer, and implores him
to tell her whither she has been led. He addresses her by
name, and his words shew that he knows all her story.
Wondering at this, she asks to know who he is, and recog-
nises the friend of mankind. Then she begs to be told what
he can tell her about her own future wanderings. He con-
sents, though with hesitation, for he knows how painful the
account will be. But the Chorus interpose; they do not
know Io's past history, and so the prophecy will have little
interest to them. So at the request of Prometheus, who
wishes at once to gratify the Chorus, and to let Io have the
relief of pouring her troubles into friendly ears, she tells her
sad, strange story. The Chorus are shocked and distressed ;
but it is at their request that Prometheus traces Io’s future

XIV INTRODUCTION.

wanderings over seas and through many lands, adding
that what he has now told her is but the beginning, the
first wave of a very sea of woe. Io's anguish on hearing
this leads to a short dialogue, from which we learn her
connection with the general plot. First, she, like Prome-
theus, is a victim of the tyranny of Zeus, and has equal
reason with him to wish that the hated reign were over.
Secondly, it is one of Io's own descendants who shall here-
after deliver Prometheus. So the prophecy of the last Act
(l. $15) is continued in fuller detail. Prometheus now bids
Io choose whether she will hear what remains about her
own future, or the name of his deliverer. But the Chorus,
with girlish confidence, again interpose. * Both boons,’ they
cry, ‘one for her, one for us!’ The two stories really make
but one. Prometheus brings Io’s wanderings to an end in
the city Canopus, at Nile’s mouth. There Zeus shall restore
her reason ; he shall but touch her with soothing hand, and
she shall bear a son, who shall be named Epaphus. Of his
race shall come Danaus, the father of fifty daughters. These
(of whom we read more in Aeschylus’ play, ‘ The Suppliants’),
shall murder each her husband, each save one—

‘Una de multis face nuptiali
Digna '—

She shall bear a kingly line at Argos, and of it shall come
the deliverer ; who is not here named, but whom we know
to be Heracles, or Hercules, son of Alcmena. He shall be
a famous archer ; and, as we know by what has reached us
of another play, shall shoot the eagle, Prometheus’ loathly
foe. All has now been heard ; with a wild cry and gesture
Io bounds away, and is seen no more.

The bearing of this remarkable Act upon the plot has been
already pointed out. We should further notice that its in-
troduction enables the poet to bring Prometheus into con- `
tact with a new type of character, and to elicit his prophecy
in a striking and dramatic manner. Still it has very much
the character of what is called in Epic poems ‘an episode,’
and was probably introduced into the play partly, at least,
for the sake of variety, and in order to gratify that growing
interest in the geography of distant countries to which

INTRODUCTION. XV

reference has already been made. The details of Io's course
present a good many difficulties, some account of which will
be found in the notes.

(The Chorus, in the Third erde:po», shortly lament for
Io’s sorrows, and pray that they may themselves ever be
spared the ills of an unequal marriage.)

V. &£o9os, or closing Act (line goo-end).

Prometheus protests that Zeus, great though he be, and
firmly seated though he seem, shall yet come to an end ; and
that in that day his silly artillery of bolt and flame shall avail
him nothing. So let him do his worst, for his time is short.
The Chorus, interposing with words of caution, do but
awaken a more defiant mood. But his proud words have
reached the ears of Zeus ; whose lackey, as Prometheus styles
Hermes, arrives, and bids him reveal his secret about the
marriage which is to imperil Zeus. Neither threats nor
persuasion alter the sufferer’s determination to disclose
nothing. As well try to talk over a wave of the sea, as look
for bended knee and upturned hands from him. Hermes
does his part faithfully, and shews all the adroitness of
speech attributed to the Messenger of the Gods, but in vain.
Finally he displays his threats ; the earthquake, the fall of
the mountain to bury its prisoner, the eagle to prey upon
his vitals ; and declares that there shall be no respite until
some God become a substitute, going down of his own free
will to Tartarus. One gentle word of advice from the
Chorus, a fresh assertion from Prometheus that he knows
all and will endure all, a warning to the Chorus, which they
' indignantly reject, to stand aside, a second warning that
they will only have themselves to thank for the trouble which
will be their portion ; and the end comes: earthquake, dust-
storm, jagged lightning, whirlwind. ‘O majesty of Earth,
my Mother! O air rolling around for all the universal light,
thou dost see how unrighteously I suffer ?

Every one who has read the ‘ Prometheus Bound’ will at
once ask the question, to what solution does the poet point,
and what reconciliation is possible between two such antago-
nists as Zeus and Prometheus? Let us see how far the play
itself helps us to answer this question. And first we must
observe that nearly all which we are told about the future

Xvi INTRODUCTION.

comes from Prometheus’ own lips. He is throughout the
expounder of prophetic lore to listeners who, with the excep-
tion of Hermes, know nothing but what they see. Briefly
the conditions of his deliverance are these :—

I. He possesses a secret about a marriage to be one day
projected between Zeus and a mortal, the issue of which,
if it take place, shall be a son stronger than his father, who
shall seize the throne for himself. This danger can only be
averted from Zeus by Prometheus giving him timely warn-
ing, so that he may avoid making such a marriage.

2. He will not reveal this secret before he is released.

3. Zeus will not release him or be reconciled to him until
an immortal consent to go down to Tartarus in his place.

4. He shall be released, against the will of Zeus, by a
descendant of Io in the thirteenth generation, a great
archer. |

With greater or less certainty we may read the interpre-
tation as follows :—

Hercules, the descendant of Io in the required degree,
shoots the eagle and releases Prometheus, by whom he is
hailed as * dearest son of a most hated father. This there-
fore takes place entirely without the wish of Zeus. Nowa
substitute is found in the person of Chiron ; who, being sick
of an incurable wound, is weary of his immortality, and
gladly consents to die. Zeus is thus free to be reconciled
with Prometheus, and the latter is free to tell his secret.
The marriage which endangers Zeus is one which he wished
to make with Thetis; being warned, he betroths her to a
mortal, Peleus, and she becomes the mother of Achilles.

. We know that Aeschylus wrote two other plays on this
story; and it is probable that the three were a ‘ Trilogy,’
that is, a series of three tragedies forming a continuous
whole, and followed by a Satyric play, in which some ludi-
crous incident of the same story was set forth. If this was
so, we cannot doubt that the Prometheus Unbound (Avópevos)
immediately followed the extant play. We know that the
Chorus in it were Titans, and that it contained the same
abundance of geographical detail which we have in the story
of Io, With regard to the Prometheus Firebearer (mupddpos)
there is more doubt. It is often assumed that it stood first

INTRODUCTION. . xvii

of the three, and contained the story of the theft of the fire.
As however there hardly seems to be room for any such
preface to our play, which is perfectly intelligible without
any,it is more probable that it really stood third, and con-
tained the final reconciliation scene, in which Prometheus
| appeared

* Extenuata gerens veteris vestigia poenae,
Quam quondam silici restrictus membra catena,
Persolvit pendens e verticibus praeruptis’ ;

and a glorification of him as the giver of fire to men. Those
who know the conclusion of the ‘Eumenides’ will have no
difficulty in imagining how such a reconciliation. may have
been presented. (See also Soph. O. C. 55.)

It is clear then that such a conclusion to the story as is
given in the ‘ Prometheus Unbound’ of our own poet Shelley,
involving the total overthrow of Zeus, is widely (as it is in-
tentionally) different from that given by Aeschylus. But
how did Aeschylus, who in all his other plays speaks with
genuine reverence of Zeus, allow himself here to draw a
picture in which the King of the Gods is shewn as a selfish,
suspicious, cruel tyrant, the character of all others most
repulsive to an Athenian mind? Perhaps no complete
answer can be given ; but we will suggest a few considera-
tions, some of which have been already stated.

(1.) The great interest of the play is that of human charac-
ter. The mythological bearings are pushed aside, and even
the religious interest for the time overshadowed, by the great
conflict of will between Zeus and Prometheus. The story
of the rebellion was not invented by Aeschylus ; only he has
chosen to breathe into the forms of older poets the spirit of
human life. Aeschylus thought of Prometheus as Milton
thought of Satan, not as a mere rebel to be crushed, but as
a living will and mind to be realised and pourtrayed.

(2.) Our play contains only a portion of the story. In the
sequel the poet had the opportunity of representing Zeus as
grand, benevolent, and generous, having learnt much by
length of rule, and having passed from a tyrant into the
wearer of a time-honoured crown ; and, coming last, this side
of the picture would leave the deepest impression.

xviii INTRODUCTION.

(3.) In the Prometheus Bound we hear of the tyranny of
Zeus chiefly from those who suffer from it. Neither Zeus
himself, nor any of the greater Olympian Gods, appear upon
the stage ; and it is open to us to suppose that his tyranny
may have been even necessary in the age of general violence
from which it had just emerged.

(4.) Perhaps something further is intended. Aeschylus
may have wished to paint one of those situations in which
the difficulty of all human action is seen. The poet himself
and every generous heart in the audience felt that Prome-
theus was right; that they could wish nothing better for
themselves than to act, in his case, as he had acted. And
yet he was also wrong ; where the fault lay it would be hard
to say, whether in his over-eagerness, or in his self-reliance,
or in his pride ; but somewhere or other there is that in his
case which makes it impossible to say that he was unre-
servedly right, and Zeus unreservedly wrong. The ‘ Anti-
gone? of Sophocles affords the best example of a plot
constructed with such a purpose; and Bishop Thirlwall's
remarks on it (Essay on the Irony of Sophocles) will explain
fully what is here only indicated.

Thus it may perhaps be true that the key-note of the
Prometheus Bound, or rather of the whole Prometheus
Trilogy, is to be found in the line of Hesiod,

ds oùx gore Ards kAémrew vóov obre mapeAOeity,

or in the beautiful words of the Chorus, ‘ Never shall the
devices of mortal men overpass the great harmony which
Zeus ordains.’

We have no evidence as to date, except the reference (in
l. 367) to an eruption of Aetna which perhaps occurred in
B.C. 479. But other considerations would also lead us to
assign it to at least as late a part of the literary life of
Aeschylus, which lasted from about B.C. 500 till his death
in B.C. 456. Though the plot is not elaborate, the play is
thoroughly mature work ; more mature, it would seem, than
any of his other compositions, except that Trilogy which we
know to have been his last. The versification is smooth.
The third actor is not required ; on the other hand, in the
scenes where Io or Hermes is present, the Chorus is so

INTRODUCTION. xix

really an actor, that the advantage of having three persons
present at once, an arrangement by which Sophocles gains
so much in the complex development of character, is in effect
obtained. The choric songs are much shorter than in the
other plays of Aeschylus ; and this, if we have received them
as originally written, would point to the play being a late
one. But, whatever its date be, the work seems to be
both mature and finished. The Latin critic Quintilian tells
us that Aeschylus! plays were so rough that they were al-
lowed to be represented in a more finished form after his
death, and that many poets received crowns for such re-
production. Allowing the general justice of the criticism,
we must claim an exception for the ‘Prometheus Bound.’
Were it in our power to beg such a favour from Aeschylus,
most of us would be sorry to ask him to reconstruct the
play, or to re-write a single scene of it. And a modern poet
or play-wright, who should take such a task upon himself,
would hardly earn a crown of gold or of bay.

The style of Aeschylus is naturally straightforward.
When he is difficult, the cause lies in the difficulty which
he himself found in making the words which were at
his command express the lofty thoughts and imagery
which poured into his mind. He had not learned the
secret, as Sophocles, both by observation of the merits
and defects of his predecessor, and by close study of
language itself, afterwards did, of writing genuine poetry
in language apparently simple and little differing from
that of prose. He formed his style, partly by study of
the poems of Homer, partly by venturing himself to form
new words, like his contemporary Pindar, who “per
audaces nova dithyrambos Verba devolvit.’ To some of
his compounds attention has been called in the notes, as
shewing special ‘boldness,’ because the author uses them
in a sense of his own, and not in that which, according to
analogy, they ought to bear. His metaphors are charac-
teristic, showing great boldness of thought, and much ob-
servation of men and things. They are drawn from the
experiences of the soldier and of the sailor, from animals wild
and domestic, and from all the habits and occupations of
men. A particular type of metaphor common in Aeschylus,

XX INTRODUCTION,

is noticed on 1. 880. The constructions are usually simple ;
like all bold writers, the poet sometimes finishes a sentence
on a somewhat different model from that on which he began
it, but he never deliberately blends two constructions for the
sake of effect. The versification has much boldness and
impetuosity, caused in great part by the use of the long
words mentioned above, and by the caesura often coming
in the fourth foot of the Iambic verse (Hephthemimeral
caesura). In some of his plays there is great disregard of
caesura and of the rule as to ‘Final Cretics, which gives an
, appearance of roughness to the verse. This will not be
found to be the case in the * Prometheus.’

Some topics of interest, connected with this play, such as
the origin and development of the myth of Prometheus, and
the early relations of Greece and Egypt, as indicated by the
story of Io, are not here discussed ; because they do not bear
directly upon the purpose of the poet himself, which it must
be the first object of all his readers to understand.

IIPOMHOEYZ AEZMQOTH2Z.

TA TOY APAMATOX. IIPOZQIIA.

KPATOS KAI BIA.

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IIPOMHOEYTZ AEZSMOTHY.

xal 39 mpóxeipa. Wadia bépxecOar mdpa.
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dpay tatr’ dvaykn, pndty éykéAev' yan

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xópet kårw, oxéAn Ot xípkwcor Bla.

kal Ó? wémpaxrat ToŬpyov oU pakpQ mdve.
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pora poppi yA@ood cov ygpóera:.

ov paddanl(ov, Tri» © éuijv avdadlay
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olol re Ovnrot Tavs’ amaytAfoa Tópov ;
yevdwrtpws oe daluoves Tpounbéa

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IIPOMHOETS5.

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TÒ Tür éxpncev Ao pirrar véov.

kal told ovdels avréBawe mAiv eyod.

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¿yë 0 éróAugo* e£eAvodpnv Bporoùs 235
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mdoxew pev üXyewaiaw, olkrpaitow 8 libet
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oùk HEL@OnY avTos, QAAà vgAcós - 240
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adnpddpwy Te kåk mérpas elpyacpévos

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pox 9ots* yò yap our’ Qp eloweiy rábe

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tooicde òh oe Zebs èr aitiduaow 255
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ruxóvr épíjov Todd ayelrovos wáyov. 270
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néo dt Baca Tas 4pocepmoícas Tbxas
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ako dordixqs réppa keXAeíO8ov

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écavayká(ei, 290
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éA0etp ès alay; Ñ Ücopüaov r/xas

épàs ddigar kal EvvacxadGy xaxois ;

dépxov Oéapa, révde tov Ards (Nor,

toy <uyxaracricavta THY Tupapvíba, 305
olas ÚT avro) TN MOVAS. kdpTrop04.

ópà, IIooum0e0, kal wapawéoa yé cor

0éAo rà Agora, kalnep Övre Targ.

ylyvwoxe cavróv kal peOdppooas TpóTous

véovs’ véos yàp kal rípavvos év 0eco¿s. 310
el 3 de rpaxeis kal re0myurous Adyous

pipes, tay’. dv cov kal parpàv Qrerépe

Üaküv xAtvo. ZeUs, dore oot Tor voy ÓxAov
napóvra póxOer wadiay ela, doxeiy.

GAN’, à taralmap’, às Exes dpyas aes, 315

. Gira òè révde mnpgdrer àraAXayás.

ápxat tows cor palvopas Aéyew tdde

rotaira pévro tis áya» vy myópov:

yAdéoons, IlIooum0e0, rGmíxetpa ylyverat.

ov 8 ovdérw ramewos ovd elkes Kxakxoüts, 320
mpos rots mapodo. & Aa mpocdaBeiv OfAes.
otxouy Euorye xpěpevos SidaokdrA@

Tpós kÉvrpa x@Aov éxtevets, 6pav Sri

vpaxvs pdvapyos oùð trevOuvos kparei.

kal voy éyà pp «lp. kal weipdoouat 325
éay ƏÚpaouar Tépbé o èkàðsaı Tórvop'

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ov ò jotyace pnd yav AaBpoordper.

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yAdoon patala (nula npoorplBerat ;

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TÅVTÆV peTaoxeov Kal TeToApnKos pol.

kai vov čarov umàé cor ueXqoáro.

TürTes yàp ov melcew viv ob yàp evmbys.
nánTawe 8 avros pij Te TyuavOns bdo.

noig y Guclvwy rovs méÀas dpevotv Edus 335
1| cavrór' čpyœ koù Ady Texpalpouat.
ópudpevov 0? pydapGs p dvriomdons’

avXQ yàp aùx rhvde dwpedy pol

décew Al, ore rOv0é o ékA9oa4 mTÓvov.

rà uév o ¿matu xovdauy AnLw Toré 340
mpo0vp(as yàp ovdéy éAAe(mew. áràp

pndey mover’ pdrny yàp ovdty Qe) @r

épol movjoes, el TL kal Jove. 0éAeis.

GAN’ novxate cavróv éxmobày Éywr

éyà yàp oùk cl Ovorv«O, Todd’ obveka 345
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ou NT, émwel. pe xal Kactyvijroy Tbxat

telpova’ "ArAavros, bs mpds éomépovs Témous
Eornke klov odpavod re kal xOovds

Gots épeldwv, Qx0os o)k cUdykaAov. 350
Tov ynyevn Te Kirsxloy olxnropa

dvtpwv ldov oxteipa, ddiov Tépas,
éxatoyxdpavoy mpós Play xeipoúpevov

Tuddva Ooüpov, wacw bs dvéorn Ócois,
opepdvaiar yapdnAator ovpl(wy pdvor* 355
¿£ óppuárov 8 fotpanre yopycemüv oéAas,

es rjv Ais tupavvlS éxmépocv Bla’

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karatBdrns kepavrós èknvéwv $Xóya,
ds aùròv éfémAmée rÓv bymqyópov

ko, Tac Tov. ppévas yàp els. avras tumels

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kal pov axpetoy kal mapdopoy déuas
Kerat oTevwrod tAnoloy 0aXaccíov:
lmovpevos plCaiow Alrvalats Ümo:
kopupais ò èv kpas fuevos pvdpoxturet
“Hdaoros, évOev éxpayjoovral more
morao? mupds datrovres dyplais yvá8ows
Ths kaAAwkápmov ZiKxeAlas Nevpods yúas'
todvde Tupas éfavacécer xóAov

Oepuns. anAnorov BéNeo, tuprvdov GAns,.
ka(mep kepavvo Znvds jvOpaxwpévos.

ov 8 o)k Tepos, oÓ épo0 didacKxdAov
xences’ oeavróv oô Ónos ènloracar
éyàó e rjv mapoÜcar dvtdjocw Túxn,
és T dy Ais ppórmpa. Awpjoy xóXov.
otkovr, IIpojs0e0, cobro ytyveokes bre.
ópyfjs Ceovons eloly larpol Aóyot;

édy tis èv kawpQ ye warOdoon kéap

kal ui] opptyGvra Bvpòv loxvalyn Bla.
èv TQ TpopnOctoba Dé kal ToApay ríva
ópGs évodoay (nu(av; dldacké pe.
póx0orv nepiosòv Kovddvovy T ein Olav.

ča pe THvde rijv vócov voceiv, enel
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éudy Soxjoes TüumAákqu. elvat. Tóc.

cas w és otkov ods Aóyos aTéAAe: máAw.

BH yáp «e Opfvos o)pós els čxðpav BáAmg.
j rQ véov Oakobvr. maykpareéis pas ;

roórov $vAáccov pý mor àx0ecÓp Kéap.. .

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365

370

375

380

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7 ci, IIooum0eo, Cogdbopà àáckaXos.

oTéhAov, kop((ov, cG(e tov Tapóvra vov.

óppajév por rávð ¿0dü£Zas Aóyor.

Aevpoy yàp elpov aldépos wWalper wrepois

TeTpacKEAnS olwrds’ üapevos dé rw 395

oTabuois év olxelorot káyopewe» yárv.

crévo re Tas oüAopévas Tuas, TIpomnded, orp. a’

Saxpucloraxroy à an óaewr paburéy AaBouéva
péos aapeiày 400

vorlow érey£a mayats' dudyapra yàp rdde Zeds

llors vónots xpartvey iaepypavoy Üeots Tots
mdpos évdelxvuciy alxpár. 405

zpóraca Š dn crovót» AéAake xópa, av. a’

Heyaiosyýpová T apxaconpen® * o v * orévover
Tap oap

Evvopaipóvæv re ruiày, dadaot T Qrouzop &yvas

"Actas Ébos vépovrat, peyadootdvetct cots wipact
avyKduvouct Ovaral:

Kody Bos re yas Evorxor otp. B 415

TapÜévo, páxas ürpeorot,

Kal Zkó80ns putos, ot yas

Ecxatoy rómov audi Maru gxovor (Aran,

"ApaBlas T “Apevoy üxy0os, Gyr. B’ 420

tlkpnpvdy @ ot méXucua

Kavkácov TéXas véuovTat,

dios orpards, Ófvmpdpow. Bpéjuop ép alxpats.

póvov 3) apdcbev čňov ép mápote 425

bapéyr ddapavradéros Tırãva Aópaw

eloibópav Gedy " ArAavO", .

ôs alév jwmépoyov ofévos kparasp

yas oùpávidv re mdÀor vórois brootevdter. — 430

Bog òè mópruos kXÓbwv

TIPOMH@OETS AESMOTHS. 17

£vynírvev, oréve: Bo09s,
xehatvos “Aidos 3 omof9péuet uuxos yas,
Taya( @ Gyvopitay Totayév orévovew dAyos

olkrpór. 435

TIP. pn To, xò doxetre pd aidad(g
otyay pe’ ovvvola òè damropat kéap,
épév éuavtay ade mpovcoeAoópevov.
xalro. Oeoict rots véows Tovrois yépa
tls GAAos 9 yQ marvreAGs didpicer ; 440
GAN’ aùrà otyG. kal yàp eldvlaow Qy
jpiv Adyouu ràp fporois 0€ müpara
dxovcal’, es pâs vgyzíovs Óyras Tò mplv
čvvovs ¿Z07xa xal dpevGy ézmBóÀous.
Aéfo 88, péupw oru àv0pómois Éxcov, 445
GAN’ Sv dédax’ edyoray efnyovpevos’ |
ot mpóra pev BAémovres Z8XNemor párqv,
KAVovTEs oUk Ñkovov, AAN ópetpárov
éAlyxtoe poppaîsı Tov pakpóv xpóvov
épupoy elk mávra, kobre mÀuQudets 450
Oónovs mpocelrovs joar, où CvAovpyías*
karépuxes 8 čvarov dor ajovpor
pýppnres üvrpev èv uuxots dynAlots.
jv 8 oj)» ajrots otre xeluaros rékgap
ovr’ àvÜeuebovs pos obre kapm(uov 455
Oépous BéBatov, AAN &rep yvepns Tò TG
émpaccor, és re 54 adu» ávroAàs èyè
ücrpev eka tds te dvoxplrovs Ójocs.
xal phy adpuoy efoxov codurudrap
éfnipov avrois, ypaypdrwv re cvvoéceis, 460
uquy 0 andvrev povoouńrop épyárw.
kălevfa npêros èv Cvyoict kvdbaAa
ÇCekyAaur, SovAevovra’ capacly 0' dras
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18

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Orois peylorwy Siddoxor pox Onpdrov
yévow0', ip Appar Tyayop duXqvtovs
Urmovs, d&yadpa ths Úneprioúrov xyAibijs.
0aXaccónXaykra 8 obris Aos üvr' eu0d
Àiyómrep' nipe vavridwv dyjuara.
rovaira pnxavyyar éfevpàv ráAas
Bporoteir, aùròs ovk éxw odduop’ bro
THs vÜv Napovons mpovys àmaAAayÓ.
ménovOas alkés miu’ QàmocdbaX)Xels jpevóv
mAava, kakós 8 larpós ds tis és vócov
mecov üÜvpets kal ceavrdy oùk exets
evpety ómo(ows $appákocs. idoupos.

Tà Aowrd pov kAjovca Oavudcer TÀéo,
olas réxvas te kal mépous éunodpny.

TÓ pé» péyiorov, el tis és vdoor nécTot,
ouk 7v àXétmw ovdey obre Bpdoipor,

ov xpiorór, otre motdv, àÀAà pappåkov
xpelg kareokéAAovro, npiv y éyà adíow
deka kpáceiws TymÜev àxeapárov,

als ‘ras ámácas é£aytvovra vócovs.
rpóTovs T€ ToAAGUS payTiKns éoTolxica,

küxpwa mp@ros ¿£ dveipdtov & xpi) `

trap yevéc0oi, xAnddvas te àƏucoxp[rous
éyvaipic’ avrois* évodlovs re ovp BóXovs
yappevtyev te Trijow olovórv cxe0p@s
cpio, olrivés re Seftol plow
eiovdpovs Te, kal òlairav ivrwa
(xov! Ékacro,, koi mpos QAA9Aobs r(pes
éOpac te kal aTépynÜpa xal Evvedplar’
enXáyxvov te Aeiórgra, kal Xpotàp Tiva
xo” dy elg S9a(pooiv mpós 1jOovi]r,
xoMjs Mofo? re TowlAgv eipopdlap,

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415

480

485

490

495

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xvlon te kàÀa. fvykaAvmrà kal pakpàv

óc» mupécas dvotéxpaprov és réxvqv

dóoca Üygroós xal proyond onpara
ewppdroca, mpócÓcv dvr’ émápycpa.

Toara èv Dij rar évepÜe 0€ xOovós 500
Kexpupper’ àvÜpómowiw opedAjpara,

xaàkòv, oldnpov, üpyvpov, xpvaóv re rls
gjnocev Qp mdpodev eLevpety épo0 ;

ovdets, odd’ otda, pù uárqv. prai Oédrov.
Bpaxet Bé púðy mdvra ovdAAnBSny nuáte, 505
narat Téxvat Bporotow èk IIpoug0éws.

uý vuv Bporots pev péiet xatpod répa,

cavroü Š àkýðct ÓvaTvxoUrvros" és ¿yQ

ebeAm(s elus tavdé o èk ŠecuQr ere

Avbévra pndey petov loyúsew Aids. 516
ov Tatra tatrn Mood mw reXeadópos

Kpavat wémpwrat, puplars d& anpovats

Óvaus re kajufüeis Ode deca d$vyyávar

réxvg 8 dvdyxns ào0epeorédpa paxp@.

. rls oty üváyxgs éoriv olakoerpódos ; 515

? 3

. Motpa, rpluoppor uwñuorpés T 'Epwbes.

. Tovro» dpa Zevs stiv doÓOcvéarepos.

. ovkouy ay éxdtyo. ye rijv mempopévgv.

. tl yàp nénpwras Zy mAjv del kparéiv ;

. Toor ovxér ay múQoto pnde Avmápet. 520
. 3 7oú T. cepvóv éorw Ó Évvayméxes.

dAXov Aóyov pépvnode, rdvde © ovdapds
Katpos yeymovety, GAAG ovykaAvmTÉos
oov pddtora’ TÓvbe yap cd (wv ¿yQ
decpods üewets kal dvas expuyydve. 525
pnddy ó wdvra vépwv oTp. a
Geir ¿uq yvédpq xpáros àvríraħov Zeos,

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20

AIZXYAOT

pnd Gurécaua Oeovs solace Oolvais Totis-

copuéva 530
Bovddvors, tap’ ' Qkeavoü natpds üceorov Tópor,
pnd àAÍroua Aóyots,

. GAA uo, rdó' Eupévor Kat umor éxraxely 535
7399 re Gapoadéas dvr. a
rox paxpoy telvew Plov inilo, pavais

«Gundy ààdalrovoav èv cippoctvats, dploow dé

ae Sepxopeva 540
, Buplow Aóx0ots Duaavauduevey ***
: Zíva yàp où Tpopcwo

. avróve yrepa céet varos &yav, IIooume9.

pép Sros- yapıs xápis, Ó díAos, einè, mob rls
àAká 5. otp. B 545
tls épapeplwy pnéis; où ¿B¿px0ns

. 6Atyodpavlay üQkukpp,
. loórvepos, à 30 perâv
. ddady yévos eumenodiopévoy ; obmore Üvarüv 550

-Tùy Aids dppovlay ápbpüv mape£laci Bovhal.
s ipabo rade was tpogidotc’ óAoüs Túxas, Tipo-
pnded, dvr. B 553

. TÓ Siapldioy Dé ue, pédos mpocénra 555

760° éxetvd O čr dui Aovrpa

kai Aéxos chy úpevakovv
Udrare ydpov, Ore rà» óponárpiov “vous
; &yayes "Haióvav may Sápapra kowóAekrpov. 560

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tls yf; tl yévos; tla pô Xeiccav
róvbe xaAwois èv Terp[vououp
xeuiaGópavov ;

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rivos àumAak(as Toupats ddéxee ;

onpnvoy črn

yis Ù poyepà wenAdynpat 565

à à,

xpíe. ris at pe Tan tfáXaiwar oloTpos,

eldwdov " Apyov ynyevois, &Acve 58,

Toy pupiotroy elcopGca Bovray.

6 òè mopeverar déALoy dup’ exon, 570

ôv ob8e karÜaróvra yata xedOet.

GAN’ éue Tay ráAawav

èE évépwy nepôv kvvayerét;

nav Te vijorw dvd Tay TapaAlay Nyáupor.

$ró òè xgpómAaoros órojet ddévat OTp.

dyéras jnvobórav vópor' là là, adres, ` 575

Tot, 7rÓTOL, TOT £ Gyovat ryXémXavo, TÀ vat ;

tl noré p, à Kpóvie

Tat, TÜ Tore tatod évé(evías eópàv dpaproicay
èv mnpoovvas, ÈÌ,

olorpgAáro òè delpart Seralay | 580

mapdxorov be relpes ;

mupl pe Xé£or, À x9ovt xdAvipor, 1) mévríois ddxeot
dds Bopar,

pndé por pbovnons

etyparwy, üva£.

ábqv pe toAvnAavor wAdvat 585

yeyupvaxaciy, oùð ew ua0ctv črna

anpovas àA$Co.

kAjews $Oéyua râs BovKepw mapôévov ;

IIP. mâs 8 ob kAjo rhs olotpodujrov Képns

ths "Ivayelas; Ñ Ads OdAme kéap 590

Zpwrt, kal voy robs trepuykers Spdpovs

"Hpg crvygrós mpos Plav yupydcerat.

22

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md0ev oð ov marpós vop àTÚELS, avr.
elmé pov rG poyepa tls àv rls dpa p, à ráAas,
Tay taralrwpoy Ò èrýrvpa mpocÓpocis, 595

0cóovróv TE vócov

évópacas, à papatver pe xplovoa kévrpows * *
pþoirañéois, è. ⁄

ekiprgpáror 5€ vyotiow alklats 600

AaBpdovros Abov, "Hpas

émwkóTown pndeot Sapetoa. Svodaysdvev 5e r(ves
ot, Èd,

of” ¿yo poyotouw;

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Téxpnpoy ó te p érappévet 605
mabeiv, tl uijxap, 7 Tl ddppaxoy vócov,

detLov, etmep olo0a;

Opdet, $pá(e TG dvoTAdV@ mapÜfÉvo.

Aéfo Topas cor müv Ómep xpy ers pa8civ,

ovk éumdéxwy alvlypar, àÀX &mAQ Adyw, 610
orep Slkatoy mpós [Nous otyew ordpa.

mupds Bporois Doríjp ópGs Tlpopndéa.

Q kowór àd$éAgua Ovynrotow paves,

rAfjuov lIpoun0e0, roO Slkny nåoxeis Tábe ;
Gppot mémavpa. rovs èpoùs Opnveyv mévovs. 615
otkovr mépos dv thvde dwpedy épol;

Aéy ivr alre? sav yàp à» mó0oió pov.
onpnvoy Satis èv ddpayyl o dyxpace.

BovrAevpa pev rò Aiov, “Hdalorov òè xelp.
TOowüs d& Tolev àumAakqpuároy TIVES ; 620
rocoÜrovy àpkô cor cadynvica póvov.

kal Tpós ye Tovros Tépua tis ép/js wAdyys
deifov tls Zora, TH TaXaurópe xpdvos.

TÓ pij pabeîv cou Kpetoooy 1j padely rác.

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IIPOMHOEYZE AESMOQOTHS.

miro, pe Kptyns too? Enep pddArAw maÓéiv.
GAA’ ob peyalpw roddé cou dwpijparos.

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yoy 8 oùðév oti tépua pov mpokelj.evov 755
póxOcv, mpiv àv Zebs exaéon tvpavyldos.

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was Ó obx ay, Aris èk Atos mdoxw kakós ;

és tolvuy dvrwy trévdé co. padety mdpa. 760
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Ocoprov, Ñ Bpórevov ; el jyróv, $pácov. 765
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ov Ta, TAR eywy àv èk SecpGv AvÜc(s. 770
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m@s eras; Ñ pòs mats e dmadhAd£er KaxGp ;
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dvaty Aóyow ce Üarépe Swpyoopa.

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Sap’ éAo0 yàp, À móvov Tà Xovmá co, 780
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enol 0€ Tov Avoovra’ tTotra yap 7000. 785

of p. 91.

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el pép T. tHE Aovmór À napeipévov

¿Xeis yeywveiy ris ToAv$0ópov mAdyns, 820
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TÒ Tay Tope(as dE TÉP dkiükoer.

Srws 8 dy «lóg pù párgr KAúoucd pov,

à mpi poAeip dip’ expendxOnney bodoa, — 825
Texunptoy ToürT aùrò dots uúQorv ép.

ÓxAov pey ovy Tov mÀ«icTOv ékAe(Qyo Adywr,
mpds abrd Ó ep téppa cy mÀargpárov.

¿mek yàp Aes mpds Modoocd yareda,

THY almóveróv T àudi Awddévyy, iva 830
pavreta Óükós T éori Qeonpwrod Ards,

Tépas T ümioTor, al mpoeoiyyopo. Opes,

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xpóvov ðè tov péAAOvTa TÓvrios MWuxàos,

sagas émícrac , Iónuos KxexAnoerat, 840
rijs ons Topelas uvipa rots mci Bporots.
onpetd co, ráb orl rhs eens ppevos,

és dépxeras mAéou Ti ToU Tepacpevov.

Tà Aorta F tpiv rAd T és Kody $pác«,

és ravróv €\Oap trav madat Adywr Tyvos. 845
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Ne(Aov apds: aùr orduare Kal mpoox@pare’
évradda 51. ge Zets rlOyow eudpova,

30

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énapaév drapBet xeupt kai Orywv pdvov.
éxdyvpoy bé rüv Ads yerrnpdtov
réfeis keAauóv "Emadov, bs kapmóoerat
donv mAaróppovs NeiAes apdever xOéva'
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xal $pevomAmyeis pavlar Oddmove’,
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rpoxobivetra, Š dupad? ¿A (ym,
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ámAQ Ady% rovs mávras éxOalpo Geods, 975
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GAN’ éxdiddoKxer náv? ó ynpdoKwy xpóvos.

kal piv oú y onw cwdpoveiy émíoraca..

ot yàp mpoontiwy o)k àv vë. ianpérnv.

¿pety Zauxas ovdey Sv xpýle mariüjp.

kal uij Ó$e(Aor y av Tivo aire xdpw. 985
¿keprdumoas b7n0ev Os maid’ Ovra pe.

ov yàp ov mais re Kate Todd dvovorepos,

el mpocbokGs époü TL mevoecOar mápa ;

obk éotw allku ode pnxdyny Ore
mpotpeweral pe Zeus yeywrnoa rdáàe, 990
mpl av aach Seopa Avpavripia.

mpos Tatra DurrécÓo pev aldadotocoa Prdé,
AevkomTépo àë viddds kal Bpovrnpact

xX9ovlots kvkáro mávra kal rapaccéro*

yvápxrec yap oùðèv TOvSE p dore kal pácat 995
Tpós ov xpedv viv ékmeaeiv Tvpavv(bos.

Spa vvv ef cov tadr dpwya dalvera..

@ntar TáÀa, Dij Kat BeBovrAevrar rábe.
TOAMNOOY, à páraw, TOAUNoSY TOTE

Tpós Tas Tapovoas mnpovàs pls dpovely. 1000
dxAets' pdrny pe Kop Sms mapmyopQv.
elaeA0Ééro ce nmol as éyà Aids

yvounv $ofmn0eis Ondrdvvovs yernoropar

kal Aimapjow Tov péya oTvyovpevoy
yovatxoplyos taridopaciw xepóv 1005

IIPOMHOEYZ AESMOTHS. 35

Asal pe beouQr TGvde roô Tavros béw.
EP. Aéywv ¿Zouka ToÀAà kal párny épeür
réyyer yàp obdéy ovde padrOdooe kéap
Autais’ Saxoy 5€ ordptoy as veo(vyijs
m@Aos Bide. kal mpds vlas pdyet. 1010
áràp cpodpiver y àc0evet codiopart.
av0ab(a yàp T@ dpovoüvr. uù KarAGs
avri) kaf arv oddevds petov chéve.
oxéwa ò, àv pij Tots épgois Teuo0]s Aóyois,
olós ce xeusàv kai kakQv Tpuvpua 1015
čne üjvkros" mpóra pèv yàp ókp(ba
$ápayya Bpovri kai kepavríg $Xoyl
marp onapdge. tHvde, kal kpóyer déuas
TÓ GOD, nerpala 8 dyxdAn ce fjacráce:.
paxpov òè pikos éxreAevrijcas xpóvov 1020:
ü&yroppov kes és dos: Aids bé To,
mryvòs Ktwy, dapoiwds üerós, AdBpws
Siaprapyoes oaparos péya pákos,
ákAgros Eptwyv OavraAeUs Tmavhpepos,
kedawdBpwrov 8 map éxOownoerat. 1025
roio00e uóx0ov répua pij Te Tpoabóka,
npiv av Oedy Tu Oiáboxos TÓv cv mTÓvov
pav, Oedjon T. èls dvabynroy podeiv
“Amr xvepatd T audi Taprápov Bá0q.
mpos Tadra BovAev* ós 60 ov memAacuévos 1030
6 kójTos, GAAG kal Alay elpquévos:
wevdnyopety yap ovk énlorara: ordua
TÓ Aiov, AAG müp Eros reei. ov Se
nånTawe kal ppdvrice, pnd av0ob(av
etBovrlas àpelvor fyon noré. 1035
XO. ñu pi» Epuñs oùk kapa halverar
Aéyeu* ŭvwye ydp ce rijv addadlay
D 2

IIP.

EP.

XO.

AIZXYAOY

pe0évr' épevvüv Tiv code e)BovA(ay.

mod" cop yàp alexpóv éfapaprávew.

elbór. rol pou TáoO. ¿yyeÀ [as 1040
60 é0dv)fev, máoxew 0€ KaxGs

éx0pàv tm éxOÓpáv oddey Qeuxés.

Tpós rar èr époi pirrécOw piv

Tvpós aupykns Bdorpuxos, ai0:p Š

épeO.Céo0c / —— 1045
Bpovrgj cQakéAo r dyplov àvépwr

x0óva 9 èk mvôpévæv avrais plas

mvedpa Kpadalyot,

Koya 8ë móvrov rpaxet poble

£vyxdoew» rp T obpaviov

dorpwv budóous, és re keAauvóv 1050
Tdprapoy a&pdnv pipere dépas

Toupoy dydyxns oteppats dSlyats:

Távres ¿ué y ov Oavardcer.

roudde pévrot Tay ppevoTAHKToV

Bovretpar éxn T éotiy dxodoat. 1055
tl yàp édAelrer uù Tapama[eu

7j Tode ró«m ; Th xaAQ pander;

GAN’ ody )pets y ai mnporúvais |
Evyxduvovoa rais rodde 'rómov |
perá mot xopeir èk tavde 0oós, 1060
By $pévas pôv Ao

Bpovriis uóknp! arépapvor.

ANo re hover kal mapapvboð w

Š ri kal me(cew" ov yàp 54 mov

TOÔTO ye tAnTov wapéovpas Émos. 1065
TÓSs pe keÀeóeus KaKdTyT àokeiv ;

pera Tobb Ó T. xpi] máoxew léw’

Tous mpoddras yàp pucew epador,

EP.

HP.

IIPOMHOEYZ AE2MOTH2.

KOUK €oTL póc'os

tno vr àmémTvoa paddov.
GAN odv pépin? aya mpoAéyo*
pnde Tpós rns Onpabeioar
Mépyrqa0e Tóxnv, pndé mor emne
as Ze)s )püs els àmpoomrov
an elo ¿aN er:

pi ÒT, avra) 9 tas avrás.
eldviat yàp xotx efaldyns

avde Aabpalws

eis &répavrov O(krvov arns
éumrexOnoes® in’ àvoías.

kal pny épye ko)kéru pio
X9av ceadXevrav

Bpvxta © nye mapapvkàarat
Bpovrijs, Eduxes © éxAápmovot
cTepomijs Cámvpot,

erpóp(3ou è kó»riw eiA(ocovov
ckiprG Ó üvéuov mTveüpara Távrov
els G\AnAa

otdow avtlnvovy àmobewvüpeva:
évvrerápakra, Š alÜijp móvro.
Todd ¿m ¿uol fumi Aió0ev
reóxovca d$óBov orelxer $avepós.
o pugrpós épijs céBas, à Távrev
ai0:p xowóv d$áos ciAloowr,
écopds w os éxduxa Tdoxe.

37

1070

1075

1080

1085

1090

NOTES.

Line r. fxopev. The verb is perfect in sense, and, standing at the
beginning of a play, shows the exact point which the action has already
reached. Cp. Euripides, Hecuba, 1, few, vexpüv xevOuGva kal okórov
rúas | Andy,

l. 2. Zkúðņv. See Introduction, p. v. — otpov, lit. ‘a road’ (probably
from ely). Hence a strip, as olpo« xvávoro (Hom. Il. 11. 24), strips or
layers of tin. Here it is the tract, region of Scythia. Compare the
use ef the word in ]. 394. We often find that Aeschylus, when he
introduces a rare word, uses it more than once in the same play, either
with the same or with a varied sense. All such cases should be noticed,
and the passages compared. &Barov. See Appendix.

1.3. This line answers tol. r. * We (the whole party) have come to
the appointed place, it remains for thee (Hephaestus) to do thine
office. &è does not directly answer to péy, but is used to introduce
the clause following the vocative, as in Eur. Orest. 622, MevéAae, coi 82
7ábe Aéyw x,r.A. Very many Greek plays begin with a clause con-
taining wey, which is sometimes followed by 8$, sometimes by some
other form of antithesis. «coti, dative after uéA «v.

l. 4. &s is practically a cognate accusative after épetro, as though it
were émorodds ds coi rar?)p érécTeiev.

l. 5. óxpáca is epexegetical of émaoAás; that is, it explains the nature
of the commands. For the verb see l. 618.

l. 6. This line, as it stands in the text, is, as to caesura and rhythm,
characteristic of Aeschylus.

l. 7. The reason of the emphatic go? in ll. 3-4, Hephaestus was the
greatest loser by the theft of the fire, which placed in the power of
mortals arts till then his alone. ¿v9os, the flower, or best, of anything.
So xpnudrow vôos (Agam. 954-5), the best of the spoil. Rarely with
possessive genitive, or, as here, pronoun ; the choicest thing thou hadst.
mavréxvov, because so many arts depended on fire. See ll 110 and
254.

1, 8. ‘Such was his offence, and for it he is now to pay forfeit to the

40 NOTES.

gods. rovéode refers to what has preceded, and cannot be distinguished
in use from roiabTra in 1. 28. Tov emphasises the statement. Prometheus’
offence was really more comprehensive. See his own statement of it in
1. 226 etc. and 1. 436 etc.— But it suits the speaker's purpose to dwell on
the special wrong done to the Fire-god.

l. ro. áv is frequently found in clauses which denote purpose (final
elauses), inserted between the conjunction ds or Saws (never iva) and the
verb. By comparing other cases (see 1l. 654, 706, 824) the exact mean-
ing will be best caught. Here, had we found ds &3ax67, the sense
would be *he is to be punished in order that he may be taught ; with
ds à» 5:3ax07 it is ‘he is to be punished that so by the best possible
means (by an adequate punishment) he may be taught. In this and
other constructions à» corresponds to a suppressed condition, which
may here be given by el obras xoAáQorro Dibáokovro dy. Observe
the word Tvupavvis, which is elsewhere used in a bad sense of Zeus’
irresponsible rule, (see 1. 224, etc.), here employed ‘cynically,’ as we
should say, by the agent of Zeus.

l. 11. orépyew, ‘to acquiesce in;' used in this sense with accusative,
as here, or with dative, or absolutely, as in Soph. O. T. 11. $uav-
Opérrov rpótov, a brutal scoff at Prometheus’ good will towards man-
kind. The words are repeated, but in a different tone, by Hephaestus

1. 28.)

( 1. 12. eov, dative of general reference (ethical dative). ‘So far as
you are concerned, the command of Zeus is quite fulfilled, and there is
nothing to hinder me more;' that is, you have brought your prisoner
here; what remains is for me to do, and with that you are not concerned.
There is a dignity in Hephaestus' bearing towards the ministers of Zeus,
which in the sequel we find him ill able to maintain. See ll. 36-81,
and especially 72-3.

l. 13. épmoðàv, sc. gol por.

l. 14. GroApos eipi,=‘I have not the heart, see l. 999. cvyyeví
0càv, the relationship, here and in 1. 39, must be understood in a general
sense, for Hephaestus was a son of Zeus and Hera and therefore not
closely akin to Prometheus.

l. 15. $épayy. Tpós Sucxeyrépe, ‘up to this rocky cleft exposed to
all foul weather.’

1. 16. ‘Whether or no, I must needs get the heart.’ Observe the
genitive rôve. oxeQeiv, an aorist form, since no present oxéOw is
known.

1. 17. ¿Lopuátev, i.e. ¿£ @pas riOéva, ‘to disregard.” The word is
not known elsewhere. See Appendix.

1. 18. As he turns to Prometheus, the language of Hephaestus is full
of respect and sympathy, mingled with regretful wonder at thoughts
which have proved too lofty to be safe, Compare this address with

PROMETHEUS BOUND. 4I

the intrusive sympathy of Ocean (1. 288, etc.), and with the gentle fem-
inine comfort offered by the Chorus, and from them acceptable. See
Soph. O. C. 1636 of Theseus approaching the suffering Oedipus, ‘ like a
true knight, with no hint of pity, (ds áv1)p yervaios, oük olkrov péra).
For the mother of Prometheus see on 1. 210.

l. 19. The repetition of words is frequent in Aeschylus, who takes the
practice from Homer; and always has a special force. Here mutual
unwillingness is meant. Compare ll. 29, 192, 671, etc. and see note on
l. 276.

ll. 21, 2. This is a case of zeugma, the verb having to be taken with
two substantives, though really appropriate only to thelatter. The full
sense would be given by I obre gaviy áxobcet Twós Bporüv obre pop-
phy dpe.

1. 23. Often in Greek the real statement is made not by the verb, but by
an adjective or participle; which may be, as here, in an oblique case.
Cp. 1. 277. ‘Thou shalt joy to see night hide the daylight, and joy to
see the sun return in his course.’ Each change shall seem to offer relief
from an ever intolerable present. Cp. Deut. xxix. 67, ‘In the morning
thou shalt say, ‘‘ Would God it were even!” and at even thou shalt say,
* Would God it were morning !”? The words of Hephaestus are no
threat, but a regretful reflection.

l. 24. Tout e(quov. So Sophocles speaks of aléAa vif (Trach. 94).
'The compound word is, in form, and in the image which it contains,
characteristic of Aeschylus.

: 1. 27. The words où mébuké mw, ‘hath not yet been born,’ convey a
hint, unconscious perhaps on Hephaestus' part, that a deliverer should
one day be born, see 1. 771.

l. 28. Toar’ émqopov (érauploxoua). ‘Such the enjoyment thou didst
win by thy fashion of benevolence.’ Cp. 1. 11.

l. 29. See note on 1. 19,

l. 30. &racas. See 1. 8, and l. 252. 4répa Sins. There is little or no
condemnation of Prometheus' acts in these words. He had unquestion-
ably passed bounds, and was to suffer for it, but those bounds might
have been set by an arbitrary tyrant.. Cp. Horace, Odes, 1. 3. 27, * Audax
Iapeti genus | Ignem fraude mala gentibus obtulit.’

l. 31. áv0' dv, ‘in return for which conduct.’ dpovpfces, ‘like a
sentry ;' see on l. 218.

l. 32. kápemrrov yóvv, i. e. in rest. Cp. 1. 396.

l. 35. Zeus is throughout this play the upstart monarch, new to power
and therefore harsh. In Agam. 1043, Cassandra, coming to Mycenae as

,a captive, is told that she should be thankful to belong to a family old
in its inheritance, since those who reap unhoped for harvests of pros-
perity are always harsh and arbitrary.

1. 38. ons is not here the simple relative, like às, but gives the

42 NOTES.

reason why Prometheus ought to be hated. It would be rendered in
Latin by gui with perfect subjunctive; so in 1. 753, and l. 759. For
its generalising force (with or without dy) see 1. 35 and 1. 243, for its
use in a dependent question, l. 295 etc. +d adv yépas, i.e. ‘fire,’ see
1.7. .

1. 39. In the dialogue which follows, one line of Hephaestus' is in
each case answered by two of Strength's. "The demon is exultant and
insolent, the God reluctant and dignified. 16 [oyyevés Tov kw.+.À.,
‘relationship (see 1. 14) is a strong tie, and the dealings too which
we have had with one another, (when they practised the smith's art
together). «ol has a gmomic force, that is, shows that Aeschylus is
referring to, and half quoting, some well known yrápn or proverb. * As
they say, kin should be kind, or the like; see ll. 275, 698. This is
only a special variety of its use in emphasising words and statements,
as in l. 8.

l. 41. olóv re was, ‘how is it possible?’ with infinitive as in 1. 107.
Inl 84 we have oloí re personally, as often in Homer. otro, i. e.
* disobedience.'

l 42. Hephaestus gives in to the dilemma thus harshly stated, and
states his reason for doing so to be his adversary's harshness. ‘I might
have known that you are always pitiless, and ¢herefore it is no use
arguing. Cp. the use of ye in giving assent, as in I, 254.

l. 43. This would be in full: 70 yàp 0pgveta0a« révde oddév torw duos
Tv Taba abro.

l. 44. p méver (present), ‘do not go on labouring.’ rà pyõèv àde-
Aotvra (cognate acc.), ‘ with useless efforts.’

l. 46. vw, sc. T)» Xepovatiay. os ámÀAq Àóyg (sc. pára). ds is
prefixed to many infinitives, as ds elmety, ws eleaoa, and ws Topas páaai
(Agam. 1584). Compare its use with some adverbs, as às dAnOas.

l. 47. The argument is that Hephaestus is a mere instrument, and
Prometheus may thank himself for his sufferings.

1. 48. épmas (év mar), ‘for all that,’ so often in Homer and Hesiod,
sometimes with dAAd, as in 1. 187. ddeAev conveys a wish, with or
without such optative particles as «i6e, ws.

1. 49. ‘Everything has its burden, except to be ruler of the gods.’
An answer to Hephaestus’ wish that his present office had rather fallen
to some one else; but see Appendix. For the dative cp. 1. 940, dapdy
yap obi: áp ei 0eoís.

l. 5o. This line well describes the condition of the subjects of a
Tupayyis, and would be welcome, by contrast, to the citizens of free
Athens.

l. 51. This would be in full éyvoxa r&8e kal rotade ob82y dyreurety Exo.
kal is said to be transposed, that is, it follows, instead of preceding rotoóe.
Probably it would be more correct to say that roîsðe is written instead

PROMETHEUS BOUND. `, 43

of Tábe, the dative being due to dyremeiy in a distant part of the line.
Compare the construction in 1. 331.

l. 52. otkouv, with future indicative is a strong command. Cp. 1. 616.

l. 53. &Awvvovra, see l. 530. Strength, relying on Zeus’ commission,
uses the tone which he knows will be most provoking to Hephaestus.
Zeus, as in l, 312, and 1. 947, is represented as the rÜpavvos who sits far
away in his palace, but sees and hears, himself or through spies, all
which passes in his dominions.

l. 54. kal 84, ‘look! the shackles are ready, thou mayest see them.’
xai 57 is often used when something is presented to the eyes, especially
in rejoinders: see 1. 75.

l 55. wv, Prometheus. Hephaestus is directed to seize both the
hands of Prometheus, binding them together (as with handcuffs), and
with the hammer to drive into the rock the nails which are to secure
the chain binding hands and arms. There does not seem to be any idea
of extended arms, as in the Roman punishment of the cross.

1. 57. mwepalveras 89, ‘it is being completed, do you not see?’ 84 of
indignant emphasis.

l. 59. ‘For he has a strange power of finding a way even out of a
desperate plight.’ Cp. L 111.

1. 60. Hephaestus has passed from the hands to the arms, and has
secured one of them.

1. 62. ‘That he may learn that in clever contrivances he is but a
dullard to Zeus.’ The participle, where other languages require an
infinitive, by a well known Greek idiom. For codtoris cp. l. 944,
also l. 459. From the latter passage it will be seen what the gopio para
of Prometheus were. In the time of Aeschylus no doubtful reputation
attached to the word gogior}s, which Herodotus (4. 95) applies to
Pythagoras, Aeschylus’ master, in the sense of a wise, clever man.
Observe the incongruity between the adjective and the substantive.
‘A more stupid clever man. This figure of speech is often used by
Greek poets, and is known as oxymoron (70 ófípopov).

1, 63. (It is now so completely done that) ‘none but the victim could
find fault with my work.’

1, 64. yváðov, because it bites into the flesh. Again metaphorically
inl. 368. at0é5n, because it goes its own way, heedless of the pain it
gives. At this command Hephaestus drives a wedge or spike of steel
through the effigy which represents Prometheus.

L 67. 8’ ad, not ‘a second time,’ but of remonstrance, as in l. 743,
* what? dost thou shrink ?'

1, 68. Saws is sometimes used, as here, with the second person of the
future indicative, Spa ‘or some such word being understood. ‘See that
the day does not come when thou shalt cry out for thyself’ (and not
for another).

44 NOTES.

1. 71. pacxadurriipas, the straps to go under the armpits, securing
the body to the rock.

1. 72. * I must perforce do this: do not thou give needless orders.'
To this protest against Strength's meddling and his harsh tones the
demon answers, ‘Yes, I will give orders if I please, and shout them at
you too! dvdyxn. See l 16. The word is of frequent occur-
rence in this Play. Here the compulsion arises from Zeus commands :
further on (l. 515) we find that there is a compulsion to which even
he must bow.

1. 73. 4 pùv, of strong assertion. See 1l. 166 and 9o7. For ém-
Owitw cp. 1. 277, also ll. 393 and 1041. “rp adverbially, as frequently
in Homer, and in later poets, cp. 1. 696 and 1. 929.

l 74. Here the superhuman size of the effigy seems to be indicated.
Hephaestus must climb down that he may shackle the feet.

l. 75. kal 8h. See above on l. 54. où paxpe wove answers to Big, and
shows that that word in the command was unnecessary.

1. 76. Svarópous, * piercing’ (active sense). So in 1. 181.

1. 77. ‘Strike heavy blows, even as the master who sets the task is
a heavy one.’ ye draws attention to o@murusfrms; he is harsh and
therefore the order must be harshly executed.

l 78. ‘Your tongue is as harsh as your form is ugly.’ Probably
Strength wore a mask of repulsive features.

1. 79. ‘Be as soft yourself (ov) as you please, but do not therefore
taunt me with my harshness.’ Strength exults in the repulsive traits of
his own character. See on l. 10.

l. 81. án tA qo rpa, the chains around his legs.: This was the last
part of the process (l. 74); and it done, Hephaestus proposes that
they should leave their victim. Strength consents to go, but not
without a last jeer, addressed to Prometheus himself, at his helpless
case.

l. 82. évrat0a viv. Both adverbs are emphatic. ‘Now then is the
time to insult Zeus, there when thou art hanging to the rock!’
Observe the present tense of the imperatives: ‘go on insulting! go on,
giving to men what is the Gods’? — @0<e@v yépa. Seel. 7.

1. 83. épnpépotor, creatures of the day, i.e. men. See ll. 253, 545,
945. Gol, ‘for thee,’ ‘in thy cause.’

1. 84. olol re. See onl. 41. dmavrAfjoa. Nautical metaphor (cp.
1. 149), lit. to draw off water from the hold of a ship. * What part of
all thy woes can mortal men draw off for thy relief ?'

1, 85. * The Gods give thee no true name when they call thee Pro-
metheus.’ IlIpoj9eUs =‘ forethought,’ or, as an adjective, * provident '
(mpopnOys). In 1.86 it means ‘one to take thought for thee.’ This
way of moralising on the meaning of proper names (sapovopacia) is
common enough in Greek. Thus Polyneices (very quarrelsome) in

PROMETHEUS BOUND. 45

S. c. T. 577; Helen (ëAéyaus, that destroyest ships) in Agam. 68o.
In Shakspeare we have—

‘Old John of Gaunt, and gaunt in being old,’
his own name giving him, as it were, a peg on which to hang his
melancholy thought. We should observe that the name Prometheus is
on the face of it allegorical, so that it ought, more than a common
name, to be true to fact (dp&dbrupor).

1. 87. The construction follows the sense, as though it ran abróv ce
det ToU TpounÓncouévov Sry Tpómg, K.T.. Téxvys. Strength's parting
word is one of contempt. ‘Thou thyself (artist that thou art) needest one
to help thee to come free out of this arrangement,’ i. e. of Hephaestus’
art, See Appendix.

1. 88. See Introduction, p. vi.

1. 88. Stos, in its Homeric sense, ‘divine,’ often used of the powers of
nature, sea, earth, etc. ; not, as in 1. 622, the possessive adjective of Zeus.
Taxvirrepot 1voal, the winds which rushed past him on his height.

1. 89. worapav T€ myu, the mountain sources of rivers, which were
all around him. Trovr[ov Te K.T.À., ‘and thou, Sea, laughing in thy
myriad waves, Hence Keble's * The many-twinkling smile of Ocean.’
In strong contrast to rock and snow, the prisoner sees the distant Euxine.

l. go. wappfirép Te yñ: Earth the universal mother (f) rà mávra
vixrera), and specially the mother of the Titans. See on 1. 210.

1. 91. The Sun, the God who sees all that passes on the surface of the
globe (*the searching eye of heaven"), and so rightly invoked by the
dying, by Cassandra (Agam. 1322), by Ajax (Soph. Aj. 846), forms the
climax of Prometheus' appeal.

1. ga. The construction is a common one. The verb (5«a9« is followed
by an accusative, and then by a relative clause explaining what he asked
them to look upon in him, (epexegetical). Cp. 1. 475, 1. 1093, etc. So
often in colloquial French.

l. ga. 0«àv...0«ós. See on 1. 29.

l. 93. aixlarow. See Il. 178, 600; the verb al«i{eo@a: occurs in 1. 195,
and frequently in the Play.

l. 94. Svaxvardpevos. See l 541. Tov puper. Observe the article.
‘The countless years of the time appointed me.’ The numeral is in-
definite. According to one account Prometheus was to hang for 30,000
years.

l. 95. G0Aevow. Cp. dóAos in this metaphorical sense in 1. 257, and
frequently in the Play.

1. 96. 7oX6v5' refers to what has gone before (see on 1. 8), and in
fact gives the reason forit. 'The reason why the bondage is to be so
long lies in the nature of the bonds. wayés, ‘ruler,’ ‘commander ;'
used three times in Aeschylus’ play of the Persae, in each case of Persian
captains, véos, with contempt, cp. l. 35.

46 NOTES.

L 97. ér against me, i.e. to my hurt. Cp. l. 921, L 1043,
L 1089, for the use of ¿mi, which is frequent in Homer.

L 98. See on l. 23.

L 99. ‘I groan for my woe, (asking) how it is to end? «& for
San, as in l. 183.

L 100. réppara. This word, a common Homeric one, occurs fre-
quently in this Play. Cp. 1. 184. émreiAat, is said to be used like
dyareiAa:, meaning ‘to rise,’ ‘come into being.’

1. 101. He checks his complaints, and takes a prouder tone. — spoi£-

. Each part of the compound is expressive. I know all
thoroughly beforehand.

l. 102. woralwov. A predicate. ‘No pain which shall come will be
new to me.’

1. 103. wempwpévyy .. áv&ykus. See on l. 72, and cp. l. 515. Pro-
metheus could submit willingly to fate, for he knew that it was stronger
even than his present tyrant, and would bring his release.

l. 105. The simpler order would be rò rijs dvayxns oOévos ¿criy
ábfjpirov.

l. 106. Cp. 1l. 197-8. “I cannot be silent, for my heart is hot within
me at the injustice: I cannot break silence, for the story of Zeus'
behaviour is a painful one to tell.’

1. 107. olóv re. See 41. yàp goes closely with @vyrots, and, as it
were, forms one word with it. Thus the rule of the ‘final cretic' is
not broken. Cp. 1. 821.

l. 108. 4ropóv. A 2 aor. form often used by Homer. It occurs four
times in this play in the same sense.

1. 109. vapOnkotAtpwrov, ‘the fount of fire with which I filled a
reed.” The compound should be particularly noticed. According to
analogy it should mean ‘filled with reeds,’ the form being passive. But
Aeschylus uses such compounds with much freedom. The passive sense
seems always to be present, but sometimes has to be reached circuit-
ously. Thus vapO0nkowAnpwroy is equivalent to o$ (rou mupòs) éwAnpwOn
ó vápón£. Cp. ddapavrodéro in l. 147, and in Agam. 361 Tys mava-
Adrrov, that is, drns id’ $s wavra ¿¿Aoxey. Onpâpa, present, because
fhe effect abides; ‘I am he who stole the fire? Cp. 1. 220.

l. 110. Cp. vavréxvov mupòs in l. 7.

l. 111. wépos, ‘a great resource.’ Seel. 59.

1. 112. Cp. 1. 8.

l. 113. ‘Chained thus beneath the open sky and nailed.’

l. 115. As a distant noise, presently discerned to be the faint beat
of wings, is heard, and a strange sea smell is wafted to Prometheus, he
breaks for an instant into a freer metre, soon returning to the more staid
anapaests. ddeyyis ; not to be taken too closely with Spá. ‘What
sound, what smell is borne to me, while yet there is nought to be seen?’

PROMETHEUS BOUND. 47

1. 116. 6e6ovros agrees with 65p4. For the word see 1. 596, l. 643.
kexpapévy, ‘partly one, partly the other.’ The triple alternative may
sound unpoetical to us, but the Greeks were familiar with the triple
division—Gods, Heroes, Men. Cp. Horace, Odes, 1. 12, ‘Quem virum,
etc.

l 117. (kero. The subject is ris supplied out of the foregoing
question. — Teppóvtov, ‘at the world’s end.’ Seel. 1.

l. 118. Oewpds, with genitive, ‘on purpose to witness.’ 4 rt 89,
ë) marks some impatience, ‘or if not for that, then for what? Cp.
Prometheus’ reception of Ocean, 1. 298, etc.

l 119. Seaparnv. The word which gives a title to the Play.

l. 121. 8 dwey@elas ¿A06v+z', with dative. This construction is com-
mon both with verbs of rest, as 9i #ovyxins elvai, ë ánex0cías elvai, and
of motion, as &d dims léva, (Soph. Antig. 742). It arises out of the
quasi-adverbial use of such phrases as &ià orovdjs, * hastily.’

l. 123. This was Prometheus' offence; his too great friendliness to
mortals, Seel. rr, 228, and 1. 239, &c. Mav (adverb), ‘too great to
be safe? it does not convey any notion of regret.

l. 124. The dim sound becomes the distinct beating of wings, and
Prometheus dreads the approach of the hated vulture.

l. 126. * The air rustles bengath the strokes of light pinions.'

l. 127. Prometheus' resolution does not really quail; but he thinks sadly
that whoever be coming, it cannot be a friend.

l. 128. See Introduction, p. vi. The first words are reassuring, boBn0%s
answering to his $oflepov. ‘Fear nothing! we are friends.’ Se rá£us
mrepúywv. There were many wings (see l. 125). Perhaps each nymph
had a separate car. arpooéBa, ‘approaches,’ idiomatic aorist, see on

1. 144.
l. 129. marpgas. Ocean himself comes on the same errand. See

1, 284.

1. 132. The noise of Hephaestus’ hammering (1. 56, etc.) had startled
them. . pvxóv. The inner part of the house, where the women lived,
but also used of a cave, as in 1. 453.

ll. 133-4. Fear and curiosity had chased away the modesty which
kept Greek maidens and wives to the house,

1. 135. cúðņyv, the augment omitted, as in Homer, where the word is
common. Cp.1.181. dméStAos, ‘without stopping to put on my sandals,’
(as one ought to do when one leaves the house). — óx« wrepwrp. Com-
pare Ocean’s car, L. 286.

1. 137. THs ToÀvrékvov. There were 3000 Oceanides according to
Hesiod.

1. 138. 7€ comes unusually late in the sentence. Here we have the
Homeric conception of Ocean as a great river encompassing the earth.

1.141. For mpoomoptards see l. 61.

48 NOTES.

l 144. bpoupáv. See l 31. . óxfjsw, frequent in Homer in the
sense of to endure, Observe the future—Prometheus thinks of the long
years of punishment before him. “In my terror, a mist rushes before
my eyes, ready to break in tears.' mpooptev, an idiomatic aorist.
By the time the sentence is finished, the action is past, and the verb is
therefore represented by the present in English. Cp. 7A-yiv6ny in 1. 245,
and 1. 128 above.

1. 145. eloSovcgq, dative of reference, ‘to me as I see.’ The genitive
(as though agreeing with ¿guo0, supplied out of potoi) would be equally
correct, and there are cases where Aeschylus and Sophocles use the
accusative in similar sentences.

l 146. ‘Withering away against thy rocks. Cp. wpós wérpas in
l. 4.

l. 147. ábapgavrobérown Avpars, ‘the insult of being bound in chains
of steel? For the adjective see 1. 426, and note on l. 109. The passive
sense may easily be seen here.

l. 149. ‘New rulers, lit. steerers. For the nautical metaphor cp.
olaxoa Tpódos in l, 515, see also 1. 84. These metaphors are common in
the dramatists. We may remember that Athenians were a sea-loving
people, and that Aeschylus had himself served at Salamis. With véo
cp. 1. 35. veoxpots, a lengthened poetical variety of véos; d0éros
a shortened poetical variety of d0écpws, i.e. unconstitutionally.

l. 151. ‘And what once was mighty he now brings to nought.” The
reference is to the might of Cronus which Zeus had now brought to
nothing. ^ €Àópta well expresses the brute strength of the older lords
of heaven; but compare the epithets in 1. 407. With the whole passage
compare Agam. 168, etc. ‘He (Uranus) who once was great, abound-
ing in might and in courage, can say no word, for his time is past : and
he (Cronus) who came next is gone, for he has met his better and had the
final fall; but the man who sounds from a willing heart the hymn of
victory for Zeus shall win wisdom altogether. The Chorus here, in
their first burst of feeling, use strong and almost rebellious language
about Zeus and his government.

1, 152. An earnest wish—' Oh, that he had hurled me,’ etc. Compare
the Homeric phrase, el ydp Zed re warép, «.7.A. Strictly, this is a pro-
tasis with the apodosis suppressed (by aposiopesis). ‘Yes, for if he
had hurled me (it had been well!).’ So in Exodus xxxii. 32, ‘ Yet now if
thou wilt forgive their sin— ; and if not, etc.

l. 153. dTépavrov. Again, in l. 1079, of the net of Ate. Words
denoting absence of limit had a special horror for a Greek mind.

1,154. Táprapov. The prison-house of Cronus and the Titans. See
l. 219, and Hom. Il. 8. 13. Tartarus lies as far beneath Hades, as
earth beneath heaven.

l. 155. weAdoas, having brought me near to chains, i.e. thrown me

PROMETHEUS BOUND. 49

into chains. “he word is used intransitively in 1. 712, and 1. 807.
Homer uses it in both senses.

ll. 156-7. ‘ That so no god, nor any other, might now be exulting over
me.” This is a final clause (denoting purpose or object) as shown by
the negative pj being used. When the past tenses of the indicative are
used in such clauses after ds, Ümos, iva, it is always in cases where the
principal sentence is a wish that something now out of the question had:
happened. Compare 1. 749; also'Soph. O. T. 1389 and 1392. The
force of the imperfect and aorist respectively will be understood by
comparing these passages.

l. 158. ‘Hung up as a plaything for the breeze. ém(xyapra, with
dative; rejoiced over by my enemies. "The verbal is stronger than the
simple adjective ¿mixapñ inl. 160. See Agam. 704.

1. 160. * Who is thus hardhearted, seeing that these things are pleasing
to him? The use of 8o7s is like that in 1. 38, etc. This is expressed
after the looser manner of Homer. A later writer would say, ris obrws
wAnqudphos orly, Gore rade émxyapi) eva abró ;

l. 161. EuvaexaAg. An Homeric form; probably lengthened from
XOS.

1. 163. ‘Having set (or disposed) his mind, so that it should not
yield.’ For the verb cp. 1. 529.

l. 165. This is the regular construction of mpiv after a negative prin-
cipal sentence in the future tense. So 1l. 176, etc. For other construc-
tions of arplv see 1. 825 (with infinitive), and l. 481 (with aorist indicative).
The verb is Homeric. maàáug mwi, ‘by some device, since Zeus was
too mighty for the empire to be wrested from him by the high hand.
The Chorus here unconsciously hint at the danger which was really
one day to threaten Zeus. See Prometheus prophecies in l. 755, `
etc. `

l. 167. 4 pry, a strong declaration. “I swear that the day shall yet
come when, etc. Cp. 1, 907, also 1. 73.

l. 168. aixufopévov. Here a passive, but deponent in ll. 195, 227,
and 256.

1. 169. mpúravıs (7pó, mpwros), ‘the prince of the gods.’ So used by
Pindar, etc., not by Homer. In some Greek states the word was after-
wards applied to the chief priest. In the Athenian constitution it bore
the meaning familiar to us.

l. 170. The subject to 6et£a« is Zue supplied out of &uo0 above. Thus
xpeíav &&& has a double construction, (1) with épo0, (2) with Zue beitar.
The latter explains the former, that is, gives the reason why Zeus shall
have need of Prometheus. — +à véov BovAeup’, Prometheus gives a
fuller intimation of what this is in the sequel (see 1. 761, etc.) ; and,
before the end of the play, rouses the angry curiosity of Zeus. See
1,947. The BobAevpa is the marriage with Thetis. — Srov, masculine.

E

5o NOTES.

Translate, ‘That I should show this new device, by what person he is
to be stripped of sceptre and honours.'

L 171. évroovA&ra:s, i.e. wéAAE: dmocuAGo0ai, prophetic present ; the
course of events is even now leading to that result. Cp. ll. 513, 764,
848. In the construction of the accusative we see how easily passive
verbs pass into deponents in Greek. ‘He loses (by being robbed of
them) sceptre,’ etc. Cp. 1.761. The construction is imitated by Latin
writers, the language itself being far more rigid. Thus—

‘Laevo suspensi loculos tabulamque lacerto. Horace.

1,172. For the attitude of Prometheus towards Zeus’ messages,
whether coaxing or threatening, see the last Act of the Play.

l. 175. 765¢, this secret, see 1. 170.

l. 176. mpiv Gv, see on 1. 165. XaAdop, ‘release me.’ So with
simple genitive in l. 256. Cp. 1. 1057.

1,178. aik(as (1). See on 1. 93.

l. 179. The Chorus' feeling is of mingled admiration of Prometheus'
steadfastness, and fear at the boldness of his speech. émyaÀds. See
on 1. 176.

l. 181. Svardpos, ‘piercing ;' cp. l. 76. See Appendix. ¿pé@voe, see
l. 1045. Augment omitted, as in 1. 135.

l. 182. They hasten to show that their fear is not for themselves;
and their conduct at the end of the Play well bears this out.

l. 183. wâ for 5, which would follow a participle supplied out of
560a. “I fear, wondering where,’ etc. ; cp. 1. 99.

1. 184. ‘To run thy bark on shore and see the end of thy voyage.’
The verb is used by Aeschylus, (1) transitively, as xéAca: vaðv ; (2) with
an accusative of the land reached; (3) absolutely, i. e. without a noun
following. Here it is probably used in the last way, réppa being
governed by ibóvra. For réppa cp. l. 100, and for the nautical meta-
phoron 1. 149. The character of a tyrant to whom there is no direct
access. Cp. Soph. O. T. 596-7, where Creon, arguing that it is better
to have the practical power than to be the tyrant, says—

viv mao. xaípo, vüv pe nas dona cerat’

vUv ol aé0ev xpy(ovres exxadovol pe:
the tyrant not being directly approachable by his subjects.
' 1, 185. åmapápvðov. Shortened poetical variety for dmapayv@nrov. See
on 1.150. a, as in d@avaros always, in dwdAapos, and like words, where
metre requires, *

1. 186. The irresponsible rüpavvos keeps justice to himself; cp. 1. 404.

1. 187. GAA’ pumas. See on 1. 48. .

1. 188. pañaxoyvópwv, i.e. padaxds TH yeep. Other compounds of
véápoy preserve its proper meaning, as vpoBaro^*yvópov, a judge of sheep.
etc. For liberties taken by Aeschylus in forming compounds see on
l. 109.

PROMETHEUS BOUND. 51

1. 189. tavry, i.e. in the way mentioned above.

l. 190. árépapvov (d, reípo), the opposite of répyy, used by Homer as
an epithet of «jp. See. 1. 1062.

l. 191. The expression is borrowed from Homer (Hymn to Hermes, >
1. 524), and well expresses the complete reconciliation which should
come about.

l. 192. The zeal for reconciliation shall be mutual. See on l. 29.

l. 193. yéywv’. Perfect imperative; this perfect is often found in
Homer. The form yeyovéw occurs frequently in this Play, yeyovioxey
is also used.

1. 194. molo, for ómoío, cp. 1. 182. alriapan, cp. l. 255.

l. 195. al«(ferar. See on l. 93.

1. 197. For the mixed feelings with which Prometheus begins his tale
see on l. 106. Here what he says is suggested by the last words of the
Chorus, ef 71 uù BAárrei Adyy, with which compare 1. 763.

l. 199. The apodosis begins with évrav6’ ¿yb inl. 204. éme TA XL-
ora means ‘as soon as ever, 7ax:ora being joined idiomatically with
éré, though logically it should belong to the apodosis, cp. 1. 228.
€U0éos is used in the same way. Compare the use of ed6éws and atria
with participles; thus abra -yevdpevos, ‘as soon as he was born.’

ll. 201-3. ‘Some wishing,’ etc. The nominatives are in apposition
to words supplied out of the preceding lines, as though the passage had
run ¿rme Qpo0ÚyovTo of Gaíuoves cracia(ovres mpds GAAHAovsS, of wey, K.7.A.
A good parallel is found in Soph, Antig. 259 :—

Adyou 3° ¿y GAAHAOLOW ë¿ppóQouy karot,

pbrat ¿ACyxuoy púñaxa.
A passage which also illustrates the rather loose use of GAAHAototw
here.

1. 202. ‘That Zeus might rule, as they were pleased to say.’ ^ ávác-
got, optative, because the time of the principal verb is past. Si@ev,
ironical, cp. 1. 986. és with áváccov is the final conjunction, ‘in
order that; with dpfecey in the next line it is still the relative adverb
‘how,’ following owevdovres, and we may thus see how it came to be
used in final clauses.

l. 204. ‘Planning how to give the best advice to the Titans.’ Bov-
Aevépevos would be more usual in prose. Cp. L. 1030.

1. 205. Prometheus, though sometimes called a Titan (as in Soph.
O. C. 56), was not, according to Aeschylus a son of Earth, but of
Themis. See below on l. 209.

1. 206. alpvAas 5$ pyxavds, ‘my politic devices” So the Titans in |
their eagerness for armed strife called Prometheus' advice,

l. 208. * They thought they would be able to conquer without effort,

‘and to rule by the strong hand. ^ ápoy6t, adverb, from ¿uox0os ; cp.
åvorpwnT? (i), Soph. Aj. 1227, but éyepri (t), Soph, Antig. d

x . , p3 avrag AvoMwwv
Ay rity KaTévewotev E77? dela? Kat gary:

52 NOTES.

l. 210. TwoAAGv óvouáTov popdi pia, ‘one form with many names;
possessive or attributive genitive. Here Gaia and Themis are said to
be but one person. But in 1. 874 Themis is spoken of as Trravis, and
and in Eum. 1, Themis is the daughter and successor of Earth. How
shall we reconcile this contradiction? Probably the personality of
these early nature deities was very vague, and there was a tendency
to form one person out of two or more names with which legend
associated like attributes. So Earth and Rhea, Rhea and Demeter, etc.
In 1. 1091 Prometheus seems to address Earth as his mother.

l. 211. Had foretold how the future was being wrought. kwpa(vouvro,
optative after a past verb.

1. 212. In direct contrast to the views of the Titans (1. 208).

L 213. * That those who had got the upper-hand must rule by policy.’
This in prose would probably be rots i vutpoxóvras, the side which
should have won.

1. 216. * As I was laying all this before them. The word implies an
authoritative exposition, as of one who explains mysteries. Cp. 1. 702.
* Much the best of the courses open to me then seemed to be, etc,
The actual best was impossible, for the Titans would not have it :. this
was ëƏeúrepos TAoUs. Cp. Agam. 1053, rà AgoTa Tüv wapeorürow
Aéya. ‘She gives the best advice which your present (bad) case
allows.’ /

1. 218. éxév0’ ékóvri. See on 1. 19, and 1. 192. oupTapacrarety,
a military metaphor: to fall in by Zeus’ side. Cp. 1. 31.

1. 219. * And so it is due to my advice that Tartarus' deep dark vault
now covers the aged Cronus, and all his company.’ For Tartarus see
on l. 154. peAapBalds, an Aeschylean compound.

1, 220. kaÀ T€, ‘hid, and now hides." Cp. 1. 109.

l.221. ajTroto: cvppáyovr. An Homeric idiom. Cp. l 1047.
Tolab', See on l. 8.

1, 223. This is the usual construction of this compound, and of the
simple verb dpeiBeoOar.

1. 224. The attitude of suspicion which a Greek tyrant had to main-
tain towards all around him is well illustrated by Oedipus’ behaviour
to Creon in the Oedipus Tyrannus; cp. 1.184. The general sentiment
here expressed would be thoroughly welcome to Aeschylus’ audience
from their own experience of tyrants at home and from what they knew
of them in the Eastern world and elsewhere.

l. 226. The antecedent to 8 is rovro. airlav xa’ $vnva x.T.À.
explains what that was. ^ 8'otv, ‘ however that may be. It marks

the passage from the general reflection about tyranny to the subject in
hand. Cp. Agam. 224. For another use of 8” oov see 1. 935.

1. 227. alix feras, see on l. 93.

1. 228. Saws TüxwTa, see on l. 199. sis here, and elsewhere,

PROMETHEUS BOUND. 53

follows a verb of rest (to sit), because a previous action (to take my
seat) is presupposed. Converstly ¿w after verbs of motion, where rest
follows. Both usages are Homeric.

1. 229. vépe, * he proceeds to distribute,’ present of vivid narrative.

ll. 230, 1. 8«coowfero &px*|v, ‘set about ordering (i. e. organising)
his kingdom. Cp. écroíxica, 1. 484.

1. 232. The order of the sense is ¿xpnÇev diordoas Tò way yévos quri-
aa: Ao véov. According to one account given by Hesiod, Zeus did
utterly destroy the second (silver) race of men because they did not
honour the gods.

1. 234. Tools’, ‘ these plans of Zeus.’

ll. 235,6. The absence of a connecting particle from the second
verb gives boldness to the account. é£eAvodpyv Pporovs roô...
poAetv would have been sufficient, the genitive of the fate from which
they were saved. p+ is introduced from another construction implied
in the sense and present to the writer’s mind, éeAvodunv Bporois wore
HÀ «.7.A. Compare the construction in l. 248, and l. 627.

l. 237. TQ Tot. ‘ Therefore it is that,’ etc., the article for the demon-
strative, as in Homer. For rot see 1. 8.

1. 239. ‘Setting mortals before myself as objects of pity.” -oUrov,
sc. oi&rov, For the thought cp. ll. 83, etc.

l. 241. éppvOpropar, ‘I am reduced to order,’ i e. * punished ;’ thus—
Znvi OvoxAe)s éa, ‘A spectacle which does little honour to Zeus.’
The mind of Zeus’ victim has room for shame at the disgrace done to
Zeus by his own conduct. See l. 106, and 1. 197.

l. 242. Such metaphors are common in Homer. Compare Horace's
* Illi robur et aes triplex circa pectus erat,’ etc.

l. 243. FuvacxaAa. See on l. 161.

1. 244. Here there is a hypothesis implied, as el mapy pi) [ety obw dv
éxpn ov eloibety, See on l. 10.

l. 245. HAyUvOnv, an idiomatic aorist, where we should use the pre-
sent. See on 1l. 145. The Chorus disclaim the idea that it was the
mere curiosity of seeing pain which brought them here. See l. 118.

1. 246. kal pv, used to express assent to what has gone before:
‘Well, I allow, that to friends I am a pitiful object (Aots, emphatic.
For kal pry in other senses see l. 459 and 1. 1080.

1. 247. The question is put diffidently, ‘Did you perhaps go even
somewhat further than this ? '

1. 248. Literally, ‘I stopped men that they should not see death
before them.’ For the negative see 1. 627, and note on 1. 236. Observe
that the usual construction of mate would be either nave Bporovs Tob
mpodépxecOar or naŭe Bporovs mpodepxopévous, not mabey Bporods mpo-
SépxecOar, Prometheus interfered twice between Zeus and men, (1) by
protesting against their wholesale annihilation ; (2) by blinding their

54 NOTES.

eyes to the death which Zeus had in store for them hereafter, so that
they might not live in slavish awe of him.

l. 249. TÒ Toiov. The article is used here (as often) with moîov
because the gdppaxov was something definite. Not ‘ quale remedium ?’
but ‘quale hoc remedium?’ Cp. Soph. O. T. 120.

l. 250. rTubÀàs, which made them blind to the future. According to
another version of the story, it was at the express command of Zeus
that Prometheus stopped men from looking forward to death (Plato,
Gorgias).

l. 252. Tpós Totob5e, in addition to the greater boons just named.
Thus the gift of fire takes a subordinate place. See onl. 7. daca,
cp. l. 30.

l. 253. wat, when it begins a question, commonly raises a difficulty.
* Do you really mean to say that men now have fire?"

1. 254. ‘Yes; and from it they shall learn many arts.’ Cp. ravréxvov
Tupos in 1. 7. The future is used, because Prometheus had only started
men on a long series of discoveries. The use of ye in an affirmative
answer, showing that something further follows, is well known. See
on l. 379.

l. 255. Cp. l. 112.

1. 256. alxfferar. See on 1. 93. — «otBapj xaAg (ce) kaxdv. * And
in no-wise gives thee respite from ills See on 1. 176. d@Aov, this
word is used several times in the play, of toil, suffering. See on 1. 96.
mporelpevov, there is an allusion to the phrases d@Aov mpéxerra, a prize
is offered to competitors, and áe0Aos mpóxevrai (Hdt.), a contest is insti-
tuted.

l. 258. y’, gives emphasis to dAAo, and refers it to the latter part
of the line. Observe that here Prometheus’ release is made to depend
upon the mere pleasure of Zeus ; in 1. 771, etc. it is to be áxovros As,
by the action of Fate which is above Zeus. Here he means any speedy
release.

1. 259. ‘What hope for thee either from the character of Zeus, or
from the nature of thy ápapría ?'

l. 260. In full ofr’ ¿gol nad’ $8ovi»v tore Aéyery. So the infinitive
follows adjectives, as in 1. 197.

1. 261. The nymphs wish to hear no more of so sad a tale; their
woman's wit turns to look for something to be done.

l. 263. *'Tis easy for him who has his foot free to advise the un-
fortunate.' Sorts, sc. tovroy ds àv «.7.A. The metaphor was a
familiar one, Thus ‘clearing his foot from the slough of ruin,’ of
Orestes (Cho. 297), and conversely in Pindar, * Let the son of Sostratus
know that he has his foot in a lucky sandal' (Ol. 6. 11). Aeschylus
refers to an old proverb or yvómgn. Prometheus, who is somewhat
impatient of advice (see ll. 335, etc.), gently puts that of the Chorus

PROMETHEUS BOUND. 55

away as beside the mark. He was quite aware of his offence, even
when he was committing it, though he had never thought that Zeus
would have taken it so seriously.

l. 265. Observe the imperfect, ‘I was quite aware while I was doing.’

1. 266. This admission is in answer to 1. 260.

]. 267. ‘It was by helping men that I found for myself these suffer-
ings. I well know that.’

l. 268. ye emphasises tolvats. ‘But as for punishments, I never
thought that mine would be so severe.’

l. 269. Cp. wérpqg mpocavawdpevoy in l. 146. we8apo(ous, Doric for
perapolos: the form occurs again in l. 710 and l. g16 Cp. al6épiov
aivuypa in l. 158. |

1. 270. tuxévra, ‘having for my portion.’ Cp. 1. 20.

l. 271. xal pot, ‘and now, I pray you,’ (ethical dative).

l 272. He invites them to descend from their cars (see 1. 128),
and hear out the tale of his coming sufferings, from which they
shrink.

l. 274. The request is put very urgently before they consen

l. 275. row (gnomic) shows that Prometheus is upon some old saying,
see on l. 39. ‘We all know that affliction lights now on one, now on
another, but the manner of visitation is one for all’ (ra?rá). This is
given as a reason why they should share the trouble of him who for
time being is the sufferer (TQ viv poyotvrt), since their turn may come
another day.

1. 276. For the juxtaposition see on l. 28. Here the special force is
that of distribution, ‘to one at one time, to another at another.” But to
get the juxtaposition, the natural order of the words (dAAore mpós
dAAov) is altered ; cp. l. 921.

l. 277. ‘Not to unwilling ears didst thou utter this cry of woe.’ For
d&coveats see on l. 23; and for the verb 1. 73.

ll. 279, 280. They now descend, and place themselves on the orches-
tra, in front of Prometheus, ready to hear his story. ^ xpaumvócavrov
0Gxov. Explained by l. 131.

1. 281. &yvóv, because pure and bright.

l. 282. með, future, from eAá(o, here used intransitively. See
on l. 155. f

l. 284. See Introduction, pp. vii, viii. fiko, “I am come;' see on
l. 1. Soxs, the home of Ocean lying in the west. The sense is
Sıapepápevos kéXev0ov Gore mpós TÒ réppa elvai, and the expression is
suggested by the frequent use of réppa with a genitive in periphrasis,
Cp. l. 184.

T 386. For the winged animal which drew Ocean’s car see l. 395.
We are told that it was a griffin, and that such grotesque animals were
frequently introduced into the Greek theatre.

| 56 NOTES.

1. 287. ‘By my own will, without a bridle.’

1. 288. Observe how Ocean intrudes his sympathy, and see on 1. 18.
The words (o9 80x, are characteristic of his verbose style and
pompous character, as are the details in ll. 286, 7.

1. 289. rò Evyyevés, cp. 1. 39. Ocean was himself a son of Gaia.

l. 291. ‘ And, over and above relationship, there is none to whom
I would wish to pay greater respect than to you” The phrase uoipav
véuew Tw (* morem gerere alicui’) is connected with ¿y uoípa éxev, and,
more remotely, with the idea of just distribution of spoil, etc. The
construction is like that of the Latin relative with the subjunctive. The
optative (withont àv) is rarely thus used. Compare the construction
in ll. 470-1, also that in Il. 904-6.

l.294. xapvroyÀocoeiv, to speak for the mere sake of giving
pleasure. Ocean protests that it is not in him to do so, he is ready
with his deeds. dépe, cp. l. 544. Used, like the Homeric dye,
adverbially before another imperative.

1. 298. éa, of surprise. ‘Oho! what is all this?’ cp. 1. 687. Kal
c 84, * Bo you mean to say that you, of all people, are really come ?'
For kal in a question expressing surprise see on l. 253. 8⁄4, emphasises
the pronoun. Tóvov . . éémrrys, cp. l. 118.

1. 299. ‘ How did you dare to leave your ocean-bed?' A sarcasm
at Ocean's acquiescence in the rule of Zeus.

1. 300. The stream which shares your name. Cp. fods dwedyoro.

l 301. ‘Caves self-built,’ i.e. hollowed out by the sea. ovSypo-
piyropa ..alav, because iron came to Greece from the north and east of
the Euxine: cp. l. 714.

1. 303. EvvacxaAdv, pres. ‘And because you grieve with me.’ For
the word cp. 1. 161, and l. 243.

1. 304. 0tapa, ‘a show-sight.'

l. 305. Cp. ll. 219, etc. '

1. 306. -For the construction of an accusative explained by a relative
clause see on 1. 92.

l. 307. Ye gives a particular emphasis to the word which it follows :
‘I see, Prometheus, and am ready to advise you too, mark that!’

1. 308. —moux(Àe, ‘clever, ‘versatile.’ A rather doubtful compliment ;
cp. 1. 206.

1. 309. ‘Know thyself,’ i. e. learn your true strength and weakness.
Even before the phrase qvà60. ceavróv became current, this would sound
like a platitude. Addressed to Prometheus, whose strength lay in his
foreknowledge, the words have a very hollow ring. peOápy.ocat
Tpómous véous. ‘Change your ways, assuming new ones.’ This is a
case of prolepsis (like ‘scuta latentia condunt,’ etc.). It is well paralleled
by Eum. 490, viv xaragrpopai véow 0eopiov.

1. 310. See on 1. 35.

PROMETHEUS BOUND. 57

l. 312. ‘Zeus, though he shut himself up (like a répawos) far away
in his Olympian palace, may hear your words. At the end of the Play
Zeus does hear Prometheus’ proud words, and sends Hermes with
threats and punishment. See l. 944.

1. 313. Sore, k.T.A. The consequences of Zeus’ hearing such words.
Prometheus' present sufferings shall be but child's play to those which
shall follow. See l. 1014.

1. 316. hrer, present. ‘Set yourself to seek.’

l. 317. * My advice may sound old fashioned, but it is to the point.'
In the next lines, as in l. 329, Ocean seems to bring in some old-
fashioned saws or vaga.

1. 319. ‘Such are the wages of the over-proud tongue. Cp. Soph.
Antig. 126, Zeùs yàp peydAns yAdoons kópmovs iwepexOaipe : the reason
of the punishment of the Argive chiefs.

l. 320, odSémrw. Ocean assumes that it is only a matter of time.

l. 322. * If you will condescend to take a lesson from me you will
not put out your leg against the pricks.’ The metaphor, taken from
an ox kicking, occurs in Agam. 1624, and in the New Testament.

1. 324. o06' ŠmeuQuvos, i. e. a rüparvos, not responsible like a magis-
trate in a free state. See on 1. 186.

1. 325. ‘I will go and try if haply I may be able.’ Inl. 139 Ocean is
more confident of success.

1. 328. f| ook, form one syllable by synizesis. áxpiBós, ironical.
* Don't you understand to a nicety, for all your cleverness that,' etc.

1. 329. See on l. 317. ‘mpoorplBerar, pass. ‘is inflicted.’ mpoorpí-
BeoOa: is more often used as the middle voice.

l. 330. Prometheus answers by a rather dry congratulation.

l. 331. Observe the construction. mávrwv peTacxóyv . . ¿aot would be
quite regular, meaning, ‘ having shared all things with me.’ Here xal
reroApyKas, i. e. xa) reroAunads per’ épo), is inserted between the par-
ticiple and the dative. Cp. Soph. Antig. 537, «ai £vpperíoxo xai
$épo ris alrías, and see above on 1. 51.

1. 332. pySé cov peAnodtw, sc. éuov. The aorist imperative with
pì is unusual. Cp. 1. 1002. °

1. 333. With the form of this line compare 1. 718, and for Zeus
character cp. 1. 185.

'l. 334. watmrawve, again in l. 1034. Here it is sarcastic, ‘Be very
cautious lest you take a mischief yourself on the way.’

1. 335. It has an ironical force. * Well, I must say you are much
better at advising your neighbours, etc. ¢pevotv, inf. after ápetvov,
cp. l. 59. and 1. 197.

1. 336. €py«, by what I actually see.

L 337. 'I must really beg that you will not check one who is anxious
to serve you.’

58 NOTES.

l. 339. Sore explains T$vBe Swpéav. Observe that érawó, like Lat.
benigné, is sometimes used as a civil formula for declining an offer.

1. 340. Tà piv, i.e. in point of zeal.

l. 342. otSev addeAGv enol is added to explain páryv more fully.

1. 343. «t Tt kal 4rovetv OéAas. ‘If your zeal does really extend to
action.’

l. 344. ‘You are out of the mischief (so &wrós.alrías in l. 330);
better keep so.’

l. 345. ovvexa, a preposition, lengthened form of évexa.

l. 347. ov Sir’, * Not I.’ kaovyvirov, Atlas was, according to one
account, a son of Iapetus; to another, himself one of the Titans.

1. 348. Atlas is placed by Hesiod in the islands of the West, that is,
the Canary islands, his presence there being perhaps suggested by the
Peak of Teneriffe. Later mythology places him in Africa. The same
poet makes him actually bear up the weight of the heaven. In Homer
(Od. 1. 53) he only has the charge of the pillars which keep heaven
and earth apart. See Virgil, Aen. 4. 246-251, and Paley’s note on
this passage.

l. 351. Typho, or Typhoeus (the latter is the form used by Hesiod),
the last-born of Earth's giant brood ; who, after the overthrow of the
Titans, threatened Zeus' supremacy, and was smitten by a thunderbolt.
He had a hundred heads, from which came voices and sounds of all
sorts; and now that He is in Tartarus all the winds which vex seamen
come from him. See. Horace, Od. 3. 4. 53. | KsAuclwv, because Asia
Minor was liable to volcanic disturbances.

l. 354. The rhythm of this line is unsatisfactory. But the reading
is uncertain.

l. 355. The rhythm and wording of this line are characteristic of
Aeschylus, and suit well the object described.

l. 356. * And from his eyes was he flashing a dreadful light. The
verb is intransitive, and oéAas is a cognative accusative, as though it
were HOT panrey doTpanny.

l. 357. ‘Ready, you would think, to wreck Zeus’ kingdom.’ ôs with the
future participle of the probable effect, as it appears to a bystander.

l. 358. dypumvov BéAos. According to Hesiod, Typhoeus would have
been successful but for the great vigilance of Zeus.

l. 359. KaraPdrns, Ionic form of xaraBdrns, ‘descending from the
sky. Zevs xaratBarns is the god who comes down in thunder and
lightning (Jupiter Elicius).

l. 360. ‘Struck him down from his proud boastings.’ Cp. Soph.
Ant. 126. The expression here is bold.

1. 361. ‘Struck to the very heart.’ 4pévas, the parts about the heart
and breast. The blow was first directed against the hundred heads,
and then passed to the vitals.

PROMETHEUS BOUND. 59

1. 362. épepaAwby, a rare word; pépaħos occurs several times in
Aristophanes.

1. 363. Tapáopos, Doric for mapfjopos, ' sprawling.’ So Homer, Il. 7.
156, éxe:ro sapfjopos évOa Kat Év0a, The word is also used of the
trace-horse (gepapópos or rapácetpos).

1. 364. orevwzod, i. e. the Straits of Messina. In 1. 351 Aeschylus
had spoken as though Typho were imprisoned in Cilicia. Here he
agrees with Pindar, who calls Aetna the ‘windy press (fmov) which
holds down Typho.’

1, 366. Here the forge of Hephaestus is placed on the top of Aetna.
Virgil (Aen. 8.) places it inside the mountain.

L. 367. Here there is a clear reference to an eruption of Aetna. See
Introduction, p. xiv.

1. 368. yva@ous, metaphor from the devouring nature of fire. Cp. 1. 64.

1. 369. The fertility of Sicily made it of great importance in Roman
history. — yvas, masc. from ins.

l. 370. roróvõe, gives the reason why Sicily shall be wasted by fire;
see onl. 96.

1. 371. * With the missiles of hot, insatiable, fire-breathing spray.’
The reading is uncertain. See Appendix.

l. 3y2. ‘Mere mass of cinders though he be, he shall yet spout out
vapour and flame.’

1. 373. Cp. l. 322. Prometheus will not force his advice upon Ocean,
as the latter had done upon him.

1. 374. Saws érloracas. A sarcasm at Ocean, who well knew how
to take care of his own safety.

1. 375. ávrÀ joo, ‘will bear to the uttermost.’ See on l. 84; and
for Prometheus’ resolution cp. 1. 103.

1. 376. * Until such time as the temper of Zeus ceases from its wrath.’
The genitive, as though with mavecOa, cp. 1.654. See also 1. 27. és
T€ has the same constructions as éws and piv, except that of the latter
conjunction with the infinitive. See 1. 458 and 1. 697.

1.378. The sense of the dialogue which follows runs thus:—Oc. Do
you not know that soft words are sovereign for an angry spirit (such as
that of Zeus)? Pr. Oh yes, if you approach him at the right moment.
Oc. What harm then in an attempt, so it be a prudent one? Pr. First
you lose your trouble, and secondly you show weak compliance. Oc. If
that be a weakness, I choose it; to be right at heart, yet not to seem to
be so, for me! Pr. But if you interfere, I shall perhaps get the credit
of it. Oc. That's a reason for my going straight home, Pr. Yes,
before you get at cross purposes yourself. Oc. With Zeus? Pr. Yes!
Oc. I think I will take warning from you, and go. Pr. Pray go!

1. 378. There is some uncertainty about the precise reading here.
Doubtless there is a reference to some vopn.

60 NOTES.

1. 379. Prometheus knew that, in his own case, the convenient time
would come, though on a distant day. See l. 167.

1. 380. The metaphor, in this and the last line, is medical, of treating
a tumour or the like, and is suggested by larpot Aóyo in |. 378.

l. 381. This is a sort of hendiadys; that is, the two verbs express one
compound action, *& cautious venture. Ocean puts the caution first.

1. 383. Trepvoaóv, ‘excessive,’ i.e. wasted trouble. So repicoà mpác-
gev, Soph. Ant. 68.

1. 384. mfjv6e . . . vécov, i. e. ebg0lay, or the course of conduct which
Prometheus had stigmatised as such.

1. 385. xépSto-rov, ‘the most profitable course” The conduct which
Ocean proposes to himself is the same as that suggested in 1. 381. He
now says that he will put up with being called ev76ns so long as he is
really right at heart. ed d$poveiv is to be loyal to one's friends, ‘ right-
hearted ;' $povetv, to be sensible.

1, 386. It isa generous thought for Prometheus’ safety which first
makes Ocean think of going, but Prometheus at once supports it by the.
argument that it will be the safer course for Ocean himself.

l. 388. * Yes, take care lest, etc. Cp. the construction in l. 68.

1. 389. The construction is continuous with that of the last line, the
. dative following els éx0pdv BáAg. Observe that in this part of their
conversation, which Zeus might have taken amiss, Ocean has been care-
ful not to utter his name. Oakoüvm, used without a case in 1. 313.

l. 392. oréAAov, ‘start ; lit. ‘be packing up.’ Prometheus is tired
of Ocean’s presence, and will not lose this chance of being rid of
him,

1, 393. For the construction cp. l. 23 and 1. 277.

l 39%. ‘ My griffin is chafing the smooth air, and I am sure he will
be glad to be in his own stable.’ For ofpov cp. L. 2. Waipe, The
action of a restless horse is suggested, though the verb itself is said to
be used of sails flapping.

l. 395. For Ocean's ‘ griffin’ see 1. 286. — v, i.e. roe äv.

1. 396. Kdpipeevy yóvv, i.e. in rest. Cp. 1. 32. Prometheus is now
silent, and the Chorus ranged around the thymele, begin the first
stasimon.

l. 397. *'Igroan over thee because of thy fate “The construction
of the genitive is like that which follows ol«reipm (as olireípo» oe Oeaparou
pópov, Agam. 1321), and is perhaps suggested by it. Cp. use of Gavyá-
(o. otAopévas, Epic form of the rare 2 aor. mid. of óAAvju, used
here, as in Homer, for an adjective in the sense of óAoos.

1. 399. Saxpvoloraxrov . . . péos, * A stream in which tears are made
to trickle’ (bácpva ord(era:). See on 1. roo.

. 1. 401. voTíots wayats. By a natural metaphor the eyes are called
kAavuárow mya? (Agam. 888). Cp. Soph. Antig. 803. Here the in-

PROMETHEUS BOUND. 61

strumental dative is used rather loosely; we should expect some word
meaning ‘streams’ rather than ‘fountains.’ dpéyapta .. T&Še, ‘in
this unenviable manner.’ Adverbial or cognate accusative after évdel-
Kvuouv alxpav.

1. 402. ilous vépous Kparúvov, cp. l. 150 and l. 186. The words form
a parenthesis.

l. 405. ‘Shows his proud victorious might among the older race of
gods ;’ (of which the Chorus had just seen an instance in the humiliation
of their father, Ocean).

l. 406. AéAaxe (à), perfect with present sense. The word is found
with a cognate accusative, as AéAaxe ordvoy, which is here replaced by
the neuter adjective. So ‘dulce loqui,’ etc.

l. 407. The adjectives are predicates. * They (i.e. men, dwellers in
every country) groan for the old glories of thee and thy kindred, so grand,
so time-honoured.’

l. 410. ömogos. The antecedent is 0ymrol.

l 415. ‘Their neighbouring home in holy Asia.’ émowov is thus
used in Soph. O. C. 506, but more often like 4érowos for a colonist,
settler.

l. 416. uáxas, genitive after drpeoror, ‘Not to be turned back from
the fray.’ The Amazons are meant.

l. 417. Zrúðņs Sprdos well describes the habits of the Scythians, a
multitude, rather than a nation.

l. 419. Seel. a.

l. 420. 'Apaías. This word is probably wrong in our text, for
Aeschylus would never have spoken of Arabia as extending to the
Caucasus.

l. 424. Bpépwv, ‘roaring in the battle of keen spears.’ Description
of a wild and warlike people.

l. 425. ‘The only case I ever heard of like this was that of thy brother
Atlas, whose punishment sea and land bemoan.’

1.428. For Atlas see on 1. 348. The mention of him there has
suggested his name to the Chorus.

L 431. ‘As the peoples about Asia condole with Prometheus, so do
sea and land with Atlas.’

1. 433. “At8os, an Homeric form, used like other forms of the genitive
for the house of Hades. puxds yas, the innermost part of the earth;
i.e. the abyss of Hades which lies beneath sea and land.

1. 435. The worapav myyat were specially called to witness his suf-
ferings by Prometheus, 1. 89. ^ &vvoporov, ‘pure and liquid.’ The
simple óbroy is a frequent epithet of water in the poets.

1. 436. See Introduction, p. viii.

1. 436. ph rot, ‘ Do not, I entreat you.”

1; 437. ovwvolg, ‘deep anxious thought.’

62 NOTES.

1. 438. wp5uceÀospevov. This is a very rare word, being only found once
. in Aristophanes (Frogs, 730), and once in a later writer who probably
quotes from this passage. The general sense of the word— insulted,
down-trodden '—is quite clear; not so the derivation and form.

l. 439. kairo. The incongruity between his services to Zeus and
their reward is-the subject of his ovvvoa, Tots véous Tovrow. Con-
temptuous.

l. 440. Because Prometheus was at the right hand of Zeus when the
latter was organising his new kingdom. See 1. 230.

l. 441. ‘You would know all about this before I should tell you.’
For the construction cp. L. 33 and 1. 277.

l. 442. The story of the woes of mortals (before I interfered), how I
made them, etc. 6s explains zñuara.

l. 444. čvvovs čðņka, I put in possession of sense, cp. 1. 848. émy-
BóAXovs (Lat. compos), from émfdAAw; the form is Epic.

l. 445. Not blaming men for their vile state; it was not their fault ;
the dative as though with pépueota:,

l. 446. éEyyoupevos, cp. l. 214.

l 447. of, the antecedent is ávOpámo:s. The relative is used like
otTuyes (see on l. 38) and introduces the reason of the word eóvoua being
used. *Seeing, saw to no purpose,' like—

* Sheep or goats
That nourish a blind life within the brain.'

1. 448. ‘Hearing (with their ears) they did not hearken (with their
understandings). There is no inherent difference between the two verbs.

l 449. @Alyktot. Epic word. Homer more often has évaAlymos.
In Agam. 82 the same image is used for extreme old age, which in its
feebleness ‘wanders like a dream into the daylight.’ TOV parpòvy
xpóvov, the long, unmarked time which they had to live.

l. 450. They mixed up all things (i. e. knew no distinctions of time or
place) but lived at random (i.e. on the impulse of the moment). Cp.
Soph. O. T. 978, where Jocasta is made to say that el«fj (jv, that is
a life without mpdvoa, is best.

l. 451. TpogelÀovs, built to face the sun: opp. to the sunless
caves. qoav, i. e. poecav.

l. 454. They could not distinguish the seasons of the year.

l. 456. BéBavov. Applies to all the seasons. ‘No sign, at least none
on which they could depend.’

l. 457. čs re, with past tense of indicative. See on 1. 376. 8 em-
phasises, * until such time as I,’ etc.

l. 458. There was a special difficulty in observing the settings of
stars.

1. 459. kal pùv, used here, as often in the orations, when a new and
important argument or topic is ushered in. Cp. 1. 1080, also 1. 247.

PROMETHEUS BOUND. 63

Number underlies most arts and sciences, hence its primary importance.
Remember that Aeschylus was a Pythagorean, and therefore likely to
extol arithmetic. For cojus prov see on |. 62.

1. 460. ypappdrav re cuv0éoers. Methods of joining letters (to form
syllables and words).

1. 461. Mythologically the Muses were the daughters of Mnemosyne,
and practically Memory is the power which produces all poetry and
letters (åmávrwv épyamw). That men were originally without this gift
seems to follow from Prometheus' account (ll. 447, etc.), though in what
sense he gave it to them he does not tell us.

l. 462. xv@SaAa, wild fierce animals, such as oxen and horses before
they were tamed. The word is used several times by Aeschylus.

1, 464. ‘That with their bodies they might relieve mortals in their
heaviest toils. For 8iá8oxot see l. 1027. Literally ‘successors in toils.’
Horses are thus considered the partners and helpers of men ; they ‘love
the rein’ too; and thus stand above the kvó5aÀa, who drudge and ‘are
slaves to their harness,’ and by whom the poet chiefly means oxen.

1. 466. Horses were much kept for racing, and their possession was a
mark of luxury. Cp. the use of irworpépos in Demosthenes, de Corona.
For the praises of the horse see Soph. O. C. 708.

l. 467. ‘It was I and none else,’ lit. ‘none else instead of me.’ So in

Soph. Ajax, 444, oix dy ms ávr' épappev Gddos dvr’ épod.
. 1. 468. vauriAwv óxhpara, i.e. ‘ships.’ The mention of this and of
the last discovery recals the language of Sophocles in the second Chorus
of the Antigone (l. 332, etc.), where the power of man, shown in his
different conquests over nature, is set forth.

l. 470. códvopa. Cp. L. 459.

. 1. 471. GwadAayS. The subjunctive after the relative is unusual, and
the construction seems to resemble the Latin (*non habeo artificium
quo liberer') Cp. 1l. 291, where the optative without dy, and 1. 906,
where the optative with àv, are so used. Here the subjunctive rather
represents the future dwaAAayfooxa; in Homer the future indicative
and aorist subjunctive are often used alike. See onl. 561. For the
general thought cp. 1. 86 and 1. 239.

l. 472. alkés, i. e. áeués. Cp. 1. 93. The words of the Chorus are sug-
gested by those with which Prometheus ended. He whose strength
had been his forethought and self-reliance, and who had guided be-
wildered men, now seemed to give himself up, like a quack physician
whose confidence fails him when he is himself ill. .

l. 474. ‘And canst not find by what drugs thou shouldest thyself be
treated.’ For the construction see on 1. 92. idowpos, sc. e.

l. 476. The metaphorical physician of the Chorus suggests to Pro-
metheus a fresh item in the list of his benefits to men.

l. 477. This line explains rà Aowrá. For wópovs, cp. 1. 59 and 1. 111.

64 NOTES.

1. 478. ef ms és vócov méro, ‘ as often as any one fell ill."

l. 479. GAéEnp’, ‘a specific.” The terms which follow refer to the
different modes of applying medicines; solid drugs, ointments, draughts:
medical details are frequently found in Aeschylus. See on l. 380.

l. 481. wplv y’, ‘until such time as” ye emphasises mpív. So és re
87) with aorist indicative in 1. 457.

l. 483. We are again reminded of Soph. Ant. 361-2.

1. 484. ‘I arranged the different methods of the divining art.’ With
the verb cp. deororxifero in 1. 230.

l. 485. ‘Which dreams were to be held waking-visions! The two
terms are often contrasted. Thus in Homer ox dvap ddd’ irap. Of the
importance attached to dreams, and the care given to their interpretation
we have abundant proof in Aeschylus. See l. 645, etc.

1. 486. kA8ovas, any sounds of ominous import; ‘bos elocuta,' and
the like.

1. 487. evpóAovs (evuBáAAc), sc. olovobs, ‘Signs which met them
on their journeys. Cp. Agam. 104, also Horace Od. 3. 27. 1-7.

1. 488. yapiyovoxov, as vultures or eagles. — &'xe8pós; cp. l. 102.

1. 489. * Both which were propitious in their kind, and which sinister.’
These were in fact the signs which appeared to the right and left (of an
observer turned to the north) respectively, the former direction suggest-
ing the brightness of the East, the latter the gloom which follows sunset.

l. 490. edeovupos (‘of happy name") is an euphemism, i.e. an au-
spicious word used to express what was really inauspicious. So Eu-
menides (‘kindly ones’) for Erinnyes (‘ wrathful ones’). A know-
ledge of the habits of different classes of birds was part of the diviner’s
art.

1. 492. orépynfpa, ‘loves.’ The word properly means ‘love tokens.’
EuveSpiat, ‘the numbers and modes in which they would congregate.’

l. 493. ‘The plumpness and the most acceptable colour. “(va for
fjvrwa, cp. 1. 99. With the passage generally cp. Soph. Ant. 1009.

1. 496. Perhaps there is an allusion to the childish story of Prometheus’
fraud upon Jupiter in distributing the flesh of an ox, which forms part
of the legend in Hesiod, but is ignored by Aeschylus. See Introduction,

. lii.

P 1. 498. gAoywrd opara, i.e. rà Tay épmípov.

1. 499. €mapyepa, properly said of eyes darkened by cataract. See
on 1. 480.

1. 500. *So much for these things. He now passes to minerals.

1. 503. &£evpetv. The subject is éavróv, but the Greek language allows
this to be attracted into the same case as the subject to ¢yceev, and
thus, like the nominative of all personal pronouns, when rot emphatic,
omitted ; cp. 1. 561.

l 504. ‘ Unless he wished to make an idle vaunt.'

PROMETHEUS BOUND. 65

l. 505. ovAAABSyy, ‘in a single sentence,’ as given in the next line.

l. 507. The enclitic vvv attached to imperatives, or, as often in Homer,
to imperative adverbs, as elá vvv, 8e0pó yuy, preserves no sense of time.
Here it is used in a coaxing argument, ‘do not now, etc. Cp. 1. 997,
and observe the short quantity in both cases. Katpov trépa. Cp. mépà
Sixns in 1. 30. edéAe, present imperative, ‘be a helper of mortals.’
This is a case where the real prohibition is contained in the second (5€)
clause of the antithesis, the first (pèv) being in sense only subordinate.
* Do not, while you are careful to help men, neglect yourself!’ This is
common in prose, and is characteristic of the Greek language.

l. 509. This hope of the Chorus rested on nothing but their wishes,
and their sense of Prometheus' greatness. Aeschylus is fond of touching
on the credulity of woman, and her eagerness to hope what she wishes.
én, not temporal, ‘ yet,’ i. e. ‘in spite of present appearances.’

l. 511. ravrp, ‘in the way you mean.’ Prometheus smiles at the
idea of a solution suggested by the Chorus. Time and Fate are his only
deliverers. Moipa, see on1. 516. mo. The Chorus were wrong not only
as to the manner of the deliverance, but also in thinking it would come
presently. |

l. 512. wémpwrar. A passive perfect from sópo, whose 2 aor. we have
inl. 108. This tense is usually impersonal, as in 1. 519, but we have
3 wenpopévn poipa, from which the construction in the text easily
follows.

1. 513. Se, ‘then and only then,’ i.e. after long years of torture. So
ovre ù after participles, etc., in Attic Prose. $vyyávo, ‘I am to
escape. See on l. 171.

l. 514. Téxvm, the art of Hephaestus which had bound him there.
Cp. 1. 87. åváyky. That inner and impersonal condition of things
by which they are what they are. Cp.1. 16. See Horace Od. r. 35.
17, where Necessity is personified as the attendant of Fortune.

l. 515. olakocrpódos, the ‘controller,’ lit. steerer. Cp. 1. 149.

1. 516. The Fates, the three beings who spin the threads of human des-
tiny, are by Aeschylus identified, or closely connected, with the Erinnyes.
As the name Motpa imports, they distribute or assign to each, whether
god or man, his proper place, and see that it is kept. Thus in a certain
sense they are superior even to the gods. In the Eumenides, Aeschylus
has described a conflict of power between these great primeval deities
and some of the gods of Olympus, ending in a thorough and final
reconciliation. pvüpoves. The Erinnyes watch the shortcomings of
men, and never forget nor forgive.

l. 517. The Chorus shrink from the apparent inference that there is a
power yet stronger than Zeus. See their next question, 1. 519.

1, 518. ye shows a limited assent, ‘Yes, in the sense at least that he
cannot, etc. Cp. 1. 768. |

F

66 NOTES.

1. 52o. ‘You have now (oðxken) come to a question which I cannot
answer for you.’

1. 521. 4 wot, ‘Is it perhaps?’ a diffident question. oepvov,
‘ solemn, ' ‘mysterious.’ Forbidden to ask directly, the Chorus try to
peep round the corners of the secret.

1. 522. pésvnoGe. Homeric. ‘Bethink ye of some other subject.’
In the next Act Prometheus becomes more communicative.

l. 523. ovyxaAutréos, suggested by £vvapséx eis above.

l. 525. ékóvyyávo. ‘Iam to escape’ Cp.l. 513.

1. 526. Second stasimon. See Introduction, p. ix. ‘May Zeus never set
his might against my will! i.e. may I never so act as to come to cross
purposes with Zeus.

1. 527. For «iro cp. 1. 163.

l. 529. * Nor may I be idle in approaching the gods at their holy
feasts, by the ever-flowing channel of my father Ocean” It was the
duty of the Ocean nymphs to grace with their presence and songs the
table of their father when the gods came to visit him in his home. So
Iphigeneia graced the table of Agamemnon (Agam. 342). Where sapd
is used with the accusative, there is commonly some idea of * motion
towards; which may here be supplied out of monvnosopéva.

1. 530. ‘Nor may I ever offend in my words!’ The third article in
this simple outline of the * whole duty' of a sea-nymph.

l. 536. Here we have the affirmative side of the picture, the prayer that
an innocent and happy life may be hers. ‘Sweet methinks it is (so) to
link day to day by bright hopes (that even the long life of an immortal
(rdv paxpdv .. Blov) may not seem too long).

1. 539. é&ABalvovcav. Epic word, found several times in Aeschylus.

l 540. This innocent dream of life suggests by contrast the awful
reality of Prometheus' position.

l. 541. puplois póyx0ovus, suggested by his words in 1l. 512. — &a-
kvatópevov, cp. l. 94. A word of four syllables appears to be wanting
here. "There is no break in the sense.

l. 543. abréve yvopaq. ‘Self-willed spirit.’ Thus the Chorus attri-
bute to Prometheus the same fault which he found in Zeus. (The word
atréve, though not found in any MS., fairly gives the sense of the
passage.) céB«. Ovarovs, a forcible expression, since * worship paid
to mortals’ sounds at first almost a contradiction in terms.

1. 545. €p’ Sus, i.e. pépe 182 Ümos x.T.à. See onl. 294. ‘See, see
for thyself, friend, how bootless this boon; say, where is any help found
for thee?’ Géxapis xápıs. ‘A favour (to men) which brings little
thanks (to thee). Not, as the words might mean, ‘a favour" which is
no favour.’

1. 546. éhapeplwy, possessive genitive. * What help have creatures of
a day (cp. 1. 83) to give?

PROMETHEUS BOUND. 67

l. 547. deucuv. Homeric word.

1. 548. loóvepov (i), suggested, as are the other expressions about
man's helplessness, by the words of Prometheus above. See l. 448.

1. 550. éprerrodicpévoy, sc. éori. ‘Never shall the devices of mortal
men transgress the appointed order of Zeus. In these words, though
spoken here in character, and expressing the inability of men to help
or hinder in the contest between Zeus and Prometheus, we may read
Aeschylus' own wording of a truth which is the keynote of this, as of
his other plays. See Introduction, p. xiv.

l. 553. TáBe, the truths just uttered.

l. 555. * That strain which now rises to my lips is the very opposite
to that which I raised when I sang thy marriage hymn, etc. This
would be, more simply expressed, 7d uéAos Š dpriws por mpocémra TÓ
Staupldvov Fv ixeivov Š Qov öre tyevaiow x. T. X. TÓ SapdlBrov
suggests the idea of a pair of opposite things (hence the article, as in
tovvayriov, there being only one opposite to any given thing); but
instead of the other member of the pair being given in the genitive
(éxeivov), both members of it are enumerated (T65' éxetvó 0). For two
things connected by re or wal or both, when in sense they are to be
taken disjunctively, cp. 1. 927. — mpooétrra, idiomatic aorist; see on
1.144. For the verb cp. 1. 115.

1. 556. Aovrpd, part of the marriage solemnity.

1. 557. Spevalovv, ‘when I was singing the wedding song; in which
nymphs, as attendants of the bride, joined.

l. 559. térart ydpov, i.e. vera yauor. The word is often used in
Homer in such phrases as 0e@v lórgri, ‘ by the will of the gods.’ rt,
which alone is used in similar phrases in the Odyssey, is by later poets
_ used as a preposition, by Pindar in both senses, the old and the new.
We may suppose that Aeschylus here uses lóryr: in a similar fashion,
though it may still preserve some of its original meaning, ‘in zeal, good
will for thy marriage) 'The word is not so used elsewhere. Tdv
dSpordtprov, ‘ our sister,’ literally, our own father's daughter. €Švous,
here used of gifts given by the suitor to the bride. An Epic word, The
dative is instrumental, but not to be taken closely with méd.

L. 561. See Introduction, p. ix.

l. 561. $à,*am I to say?’ deliberative subjunctive. This is another
case in which the aorist subjunctive is shown to resemble in use the
future indicative. See on 1. 471. — «íva $à Aevowew (sc. é£pe). Cp.
1. 503.

l. 562. xaÀ(vous .. merplvoror. ‘Bonds (not of leather but) of rock.’
The substantive is metaphorical, the adjective literal, See on 1. 880.

1. 563. xepaLdpevov. Cp. 1. 15, 8vexeiuépg.

1. 564. * What offence can have deserved such a punishment ?’

1. 567. xple, ‘stings.’ See L 598. The word means properly, ‘to

F 2

68 NOTES.

rub,’ hence also ‘to anoint.’ aus, ‘somehow, I know not how. In
her frenzy she mixes up with this gadfly the phantom of Argus the
herd, killed by Hermes but still seeming to haunt her.

1, 568. &Aeve 82. She calls on any one who will hear to keep the
dreadful phantom off. Cp. 1. 687.

1. 570. 86Mov óppa, which sees all ways at once. Cp. pupiorwdy
above.

1. 572. wep@v, more often transitive, as in I. 792.

1. 573. dvd rdv wapadlav Wáppov. As about the shore of the
Adriatic. See 1. 836.

' 1. 574. Here Io’s song becomes antistrophic, the four lines spoken by
Prometheus below dividing strophe and antistrophe. tao, i.e. in
response, echo to my complaint. The preposition belongs to órofi,
being separated from it by tmesis. Cp. éwnxeiv, etc. — wmpómÀaoros,
the reed fastened by wax, i.e. the panpipes played by the herdsman
Argus, and still sounding in Io's ears.

l 575. $mvoBórav vóuov. Cognate accusative after órofet, ‘a drowsy
strain, (which yet does not let me sleep).'

l. 576. She dwells passionately on the word * wanderings.’ Cp.1. 585.

1. 579. Like Prometheus (l. 263), she acknowledges that she had
erred, but complains that the punishment is cruelly disproportionate.

l. 582. Cp. 1. 747, also 1. 152. Tovríow 5áxeow ‘the monsters of
the deep.” Cp. Horace's ‘scatentem beluis pontum.’

l 583. Observe the construction of #0ovñoqs here, and cp. 1. 626.

]. 585. See on 1. 576.

1. 586. veyvavákaow. Lat. ‘exercuerunt.’

l. 587. * Tis I, the horned maiden, who speak.' kAve«s, idiomati-
cally, at the end of a speech, as in 1. 683.

1. 589. Prometheus takes up the word «Aves. * Hear? that I do,
and 'tis the voice of Inachus’ daughter.’ The epithet shows that he is
acquainted with her story.

l. 590. O@4Ame, present, because the description still applied to Io,
‘the kindler of Zeus’ heart.’ See on 1. 109.

1. 591. Spdpous. Cognate accusative after yupvdferar as though it
were rpéxe: Spdépovs.

1. 592. “Hoq orvynreés, ‘hated by Hera.’ A participle would be more
natural, orvynOeiog. For yvpvářera cp. l. 586.

L. 593. Io, astonished at Prometheus’ address, which shows that he
knows her name and story, asks who he is and what he can tell her as
to her future. Tró0ev, i.e. vó0ev paddy.

l. 594. &pa, inferential. She wonders who he is because he called
her by her right name.

l. 595. The construction is double accusative after mTpocÓpoeis, irh-
tupa being in sense equivalent to an adverb. Cp. l. 401.

PROMETHEUS BOUND. 69

1. 596. 6c6cvrov, cp. l. 116.

l 597. @vépacas, i.e. in the word olerpoBiwfjrov, L. 589. xplovea,
see on 1. 567. ovraAgots, in active sense, ‘maddening.’

l. 600. Her disgrace and grief lay in the wild, beast-like movements
with which she was compelled to hurry over the earth without food or
sleep. Cp. 1. 674. vhonow, applied to the wanderings which kept
her fasting.

1. 601. Aafipóovros, cp. xpa:wvdéauros, 1. 279.

l. 602. * The poor and wretched can at least rest and eat, but Io can-
not.'

l. 605. téepnpov. The active voice is rare, the middle alone being
found in Homer.

1. 606. «i for 87, as in 1. 493.

1. 607. elep olo@a. She is inclined to believe him because he knew
her name, also because in her misery she would catch at any straw.
See on l. 509. Afterwards (l. 824) Prometheus is careful to give her
proof of his prophetic power.

1. 609. He gives a full and free consent to her request; and, in
answer to her first question, begins by telling her who he is. Topas,
as she had asked him to do (1. 604).

1, 610. Not after the fashion of oracles. &vÀQ Adyy, see L. 46.

1. 611. ‘It is due to friends to show no reserve.’ Prometheus and Io
were fellow-sufferers, and therefore friends.

1. 613. kowóv, i. e. to the whole race of men.

1. 614. rod Siny, ‘in punishment for what?’ Cognate accusative
after méoyes, rather than in apposition with råe. The use of xápu as
a preposition arises from a similar construction.

L. 615. Gppot, ‘lately,’ like dpriws in sense. The word is used by
Theocritus, Prometheus’ pride recoils from telling his woes to every
comer.

L 616. ‘ Will you not then give this boon to me?’ A gentle request,
as, in 1. 52, otxouv with the future indicative is a strong command.
For the verb cp. 1. 108.

1. 617. ‘You might (if you wished) hear anything from me.’

1. 618. pdpayyt, cp. 1.15. dxpace, cp. l. 5.

1. 619. Atov, possessive adjective of Zeds. See on 1. 88.

l. 621. rooodrov. ‘So much as I have already said.’ ápkéo is
found used in two different ways, ápkxéo cadnv(ca, i.e. * valeo enuntiare,'
and dpxéw got, i.e. ‘sufficio tibi! Here perhaps some of the second
meaning is present as well as the first. *I can say no more, and you
must be content.’

1. 622. * Then at any rate (if you will not tell me more about your-
self) tell me also, besides what you have already said, the limit of my
wandering, what time shall be (i.e. bring) it” "The construction is

70 NOTES.

complete at Seitov; what follows is added to show in what sense she
used +épua, i.e. of a limit of time. rls for ŠcTis, as in 1. 606.

l. 624. Aeschylus often dwells on the thought that it is happier for
men not to know too much about the future. Cp. 1. 248, and Agam.
251; so Horace— Prudens futuri temporis exitum | Caliginosa nocte
premit Deus.’ But cp. L 101 for Prometheus’ feeling about this in his
own case.

1. 625. Double accusative after xptps. ‘Celare’ in Latin has the
same construction.

1. 626. *I do not grudge thee this boon,' explained by 1. 628. For
the construction, which is found in Homer with this verb, cp. L. 583.

1. 627. Here the infinitive takes a negative, because it is considered
as expressing the result (Gore pù) of péas, and the double nega-
tive (aq ob) because u£AÀ «s is itself practically a negative. See lines
787 and 918, also Soph. Ajax, 540, and O. T. 13. For yeyovíaxav,
cp. 1. 193.

1. 628. 0p&£a« (perhaps rather Opdfa:), varied form of rapóta.

1. 629. ‘Do not be more delicate about my feelings than is agreeable
to me.’ ås for ñ às. There are passages in Attic Greek which per-
haps bear out this use of ds. It is well to remember that the particles
and adverbs which express comparison are originally very simple ones,
$, re, etc. Here the Latin would be ‘magis guam quod mihi dulce
est, i.e. ‘by the standard of what is pleasant to me,’ which may be the
meaning of s here. See also on 1. 556.

1. 631. ‘Please not yet!’ The future of Io's wanderings will be of
little interest to the Chorus, who do not know her past story.

l. 634. Tà Aovrd Š' dOAwv. ‘What remains in the way of toils;’
cp. 1.684. In prose it must be rà Aor (or Tò Aouróv) T&v áüAov.

1. 635. “It rests with you, Io, to serve them and do them a favour.'
Xáptv, cognate accusative after the neuter verb. Cp. l 614. So
Herodotus has xpyora 'A0gvaíou: brovpyev.

1. 636. * More particularly seeing that they are your father's sisters.’
Inachus was a son of Ocean.

1. 637. The infinitives are in the aorist, ‘To weep and have done.’

1. 638. ‘In a quarter where one is sure to win the meed of a
tear. As Io would do in telling her tale to her kinswomen. péAAot,
optative, following aorist infinitives.

1. 639. ‘Is spending time to good purpose. 7983) xpóvov or Bíov, is
the rubbing away, passing, of life. Cp. Soph. Ant. 1079, où paxpoo
xpóvov TpBfj.

l. 640. Observe the absence of caesura. See Introduction, p. xvi.
dmorfjoa, ‘to distrust,’ as though they might make a bad use of the
knowledge. .

L. 641. cadet... pvOp. As frankly as Prometheus had promised to
speak on his part, 1. 609.

PROMETHEUS BOUND. 71

1. 642. ‘I am ashamed even to tell of,’ etc. For the construction see
on l. 92. The special disgrace was the quarter from which the trouble
came, ôer.

1. 643. 0«6navrov. see 1. 596, and observe the form here. — xepóva,
“storm of woes.’ Cp. l. 1015.

l. 644. Tpocérmraro. Appropriate to the metaphorical word xeu va,
rather than to Stad8opav, which stands nearest.

1. 645. woAoupevar, Lat. ‘versatae,’ but with idea of motion. The
Homeric form of the verb is wwAéopas, participle mo eópevos.

l. 646. apÜevàüvas. The rooms in the house occupied by the un-
married daughters: So dyëpëy «.7.A. `

1. 648. Sapév. Homeric form of 5npóv. Cp. 1. 940. éEov, neuter
absolute, oot being closely attached to é£óv, and forming, as it were, one
word with it; the rule of the ‘final cretic' is not broken. Cp. 1. 107.

1. 649. tpépov BéAe, ‘the shaft of love, a frequent metaphor. Cp.

Agam. 744.
1. 650. For ré@aAmrat, cp. l. 590. mpos, ‘by,’ lit. ‘from thee:'
cp. l. 92. So used in Homer. EuvalpecOar Kúmpuv, ‘to join in acts

of love.” The verb sometimes takes a genitive.

1. 653. The natural order is mpés rds moíuyas xal rds Bovordces Tov
vaTpós ('Iváxov).

1. 654. ‘ That so, if so it may be, the eye of Zeus may rest from its
desire. See on 1. ro, and for Àed oq 1ó6ov cp. 1. 376.

1. 656. Evvexdpny, * I was constrained.’ Often used of physical con-
straint, as with móvg, ifp, «.7.A. — és Te 01, ‘till the time came when.’
See on 1. 457.

L. 658. ‘To Pytho, and off for Dodona.’ The latter oracle being
more distant, the more vague preposition (‘in the direction of’) is used.
émi is so used in Homer and by the historians.

1.659. Geompétrous. Like @ewpovs. ‘Messengers sent to enquire of
a god.’ Literally, ‘those who declare what the gods reveal’ (apémw).
taAAev, imperfect, ‘he sent relays of messengers, ds po, ‘in
order that he might learn” Optative as following a past verb. vl
xp, for dr: xpeíg. We have already (as in 1. 493) had ri for 87, the
direct for the indirect interrogative pronoun; here a like change takes
place as to the part of the verb used.

1. 660. Spavr’ 4 Aévovra. The participles contain the real verbal
notion : ‘What he must do or say in order to please the Gods.’ &pâv,
‘to do a deed.’ 4rpáccev, * to act,’ or * to transact.’

1.661. aloAoorépovus, ‘Shifty, riddling.” So the Theban sphinx is
called $ vouAq5ós.

1. 663. T&Àos, adverbially used, ‘at last. — évapyds Báis, opposed
to the xpnopol donpo above.

1. 664. ‘Clearly charging him in so many words. The two parti-

72 NOTES.

ciples contain one idea : hence the infinitive S0ety, governed in syntax by
the former of them, in sense by both.

l. 666. á$eróv, agreeing with gc, and to be taken with éAdo@a,
*sent free to wander (like some sacred animal) over earth's remotest
bounds.’ Sposs, used vaguely, like Latin ftmibus, or our * bounds.’

L 667. * And (threatening) that if he did not do so a bolt should
come. If the participle understood were dseAovea, or the like, we
should expect a poAciv.

1. 668. éfaitoréca, future optative, because in the oratie recta the
future indicative would be used. This mood is rare.

1. 671. éxovoav áxev. ‘He loth as I.’ See on l. 19. ‘Spite of
his unwillingness, he must needs comply, for the bit of Zeus was in
his mouth” Cp. Agam. 217, ‘ When he put. on the collar of necessity,’
also said of a father sacrificing his daughter to obey a prophet's message.

1. 672. wpds Bíav, * perforce.’ Cp. 1. 208.

l. 674. She was represented on the stage with horns like a cow.
Cp. 1. 588.

1. 675. * Stung by the sharp bite of the gadfly. For xpvoOeto" see
on 1. 597.

L. 676. porov, imperfect. The change was so sudden that she
found herself all at once rushing with maddened plunge. Kepxve(as
péos, uncertain.

1, 677. Lerna was a small lake, giving its name to part of the coast
of Argolis. Argus is called a son of Earth. Cp. 1. 567.

1. 678. dxparos ópyùv, ‘of temper violent, The words go with
ópápre. Observe again the imperfect tense.

1. 679. ‘ Looking with his myriad eyes (see l. 569) at my footsteps,

wherever I went.' kata as in xar’ Lyvos.

1, 680. á$viBvos, from á$vo (D. The usual form is alqvíóiof. Argus
was killed by Hermes.

1. 681. When he was dead, the other tormentor, the gadfly, was sent
by Hera.

1. 682. ‘I am driven from land to land. The phrase occurs in
Aristophanes (Ach. 235) and is quoted by Cicero as if proverbial.
Connect it with such expressions as dyev riva mpd 8ógoy, ° to lead one
forth in front of the house.’

l. 683. Addressed to Prometheus, although Io's narrative was really
being given for the benefit of the Chorus, since he knew both her past
and her future.

1. 684. Aovróv móvov. ‘What remains in the way of-toils, See on
l. 634.

l. 685. * Do not in thy pity (lit. *having felt pity for me") cheer me
up with tales which are not true? Cp.1.629. . véonpa, metaphori-
cally, as in l. 225.

PROMETHEUS BOUND. 73

1. 686. ovvOérovs Aóyovs, ‘words made up, i.e. with intent to
please.

1. 687. mexe, ‘ keep her (Io) away!’ cp. 1.668. The maidenly sim-
plicity of the Chorus is shocked by Io's tale, and especially, perhaps,
by the calmness of her tone in asking to be told the whole stern
truth.

l. 689. *I used to think in my pride that such words would never
never come to my hearing. The negatives belong in sense to the
infinitives: though if they did so in construction they would be uñmore.
Cp. the familiar of pnu, and Eum. 561, where the same verb is
used as here.

1. 692. Avpara strictly means ‘filth,’ * pollution,’ here used for Apar
(see 1. 148).

1. 693. wfi£ev, * should rub, wear (as acid wears steel).'

1. 694. For Moipa see 1. 516.

1. 696. ye gives an ironical emphasis to mpd, cp. 1.335. ‘Well, you
do groan in good time.’ mpd, adverbial, as sometimes in Homer. This
is its original use. See on 1.73. ‘And art as one full of fear.” This
seems to be the force of ms, which is often placed after substantives
and adjectives in comparisons ; cp. l. 473.

l. 697. és +’ dv. Cp. 1. 376. poop. á0ns, ‘Learn in addition to what
you have now heard.’

1. 698. Tot has a ‘gnomic’ force. See on 1. 39. ‘It is pleasant, they
say, to the sick. The truth of the vápn has been illustrated by the
wish of both sufferers, Prometheus and Io, to know the worst. For
ampovEer(oracGat cp. L. 101. I

1. 700. ye in its usual sense of ‘at least.’ épo mápa, because it was
at his request that Io had told her story. See 1. 635.

l 701. toe, genitive after paQetv, on the analogy of wuv@dvopat.
Cp. Soph. O. T. 575.

1. 702. This would be at full length, é&nyoupévns dud’ ¿aurñs ròv
éaurijs G0Aov. Thus the words dpd’ éaurfis do double duty, (1) as an
epithet of &@Aov, (2) in the sentence at large. This happens even in
prose with other prepositions, as dwd, é. Cp. Agam. 538, Soph. El.
137. For &0Àov see 1. 257.

1. 703. Tà Àovrd, explained by ola xp?) x.7.À.

1. 704. trpós “Hpas, cp. 1. 601.

l 705. Here he turns to Io, and addresses her alone. The reader
will find it hard to follow in a map the wanderings of Io. In that
part of them described in this speech (Il. 700-741) she is brought from
Scythia, where she was now standing, to Asia, which she enters for the
first time at 1. 730, by crossing the Cimmerian Bosphorus. To reach
‘this, she is first to go eastwards, avoiding the nomad Scythians and

74 NOTES.

the Chalybes but keeping along the north shore of the Black Sea, until
she comes to a certain river, which is not named, but is said to bear
a name descriptive of itsefurious course. This she is to follow to its
source in the Caucasus. By this river is thought to be meant tbe
Hypanis (Kuban), which comes down a white, muddy torrent from the
glaciers of the Caucasus. ‘Saxosum ..sonans Hypanis.’ Bat (1) this
falls into the Cimmerian Bosphorus on its eastern or Asiatic shore,
which Io docs not reach ull long after she has crossed this river; (2)
there is nothing in the name Hypanis suggestive of such a torrent.
Probably Aeschylus, who only knew the rivers falling into the Black
Sea from the accounts of sailors who had never followed them inland,
confused the Hypanis with the Borysthenes, taking the mouth of the
latter, and the source and general character of the other. As to the
name, that of Borysthenes would be sufficiently descriptive; perhaps
however the name intended is Araxes (åpágow), a name which is applied
to several rivers, and which may have been given by him to the imaginary
one above described. Following then the Hypanis to its source in the
Caucasus she is to cross the range at that point. There is a pass (the
Nakhar) from the head-waters of the Kuban to those of the Kodor and
the rich land of Abkhasia, which crosses the chain near (twenty-five miles
west of) Elbruz, its highest peak, and, though lofty (9.500 feet), Is
traversed by oxen, and was, until lately, in regular use. As Elbruz is a
conspicuous object from the Black Sea, rumours of such a pass might
well have reached Greece. (See Grove’s ‘ Frosty Caucasus, ch. xii.) She
is however to cross the range from north to south, and so to reach the
Amazons, who will conduct her to the Cimmerian Bosphorus, and so
she will have reached Asia. If this is what Aeschylus meant, it follows
that he was quite ignorant of the true position of the Caucasus, and
must have thought that both it and the old home of the Amazons on its
southern side lay north of the sea of Azov and the Don, which he held
to be the boundary of Europe and Asia.

l. 706. 0v. BáA', ‘store up in thy mind,’ more commonly ¿y 6up@ or
els Óvuóv, Bare. os Bv, ‘that so, if haply so thou mayest, thou mayest
learn, etc., see on l. 10. céppara, cp. 1. 623.

l. 708. Io's general course had been from west to east, but she may
have come northwards from the sea to the place where she now stood.
Hence the direction to turn her face towards the east. ávopóTovs,
because occupied by nomad tribes. — ee(xe«w does not commonly take
any but a cognate accusative, as orelxew ó8óy.

l. 709. For á$(£e« with accusative cp. 1. 724.

l. 710. mweBdpovor, cp. 1. 269. The Scythians are said to live ‘in mid
air' because their wattled huts are set upon wheels. Cp. Hor. Od.
3. 24. 19: ‘Campestres melius Scythae, | Quorum plaustra vagas rite
trahunt domos,’

PROMETHEUS BOUND. 75

1. 712. ois pr me) Lev (sc. 3e). For the verb cp. 1. 807, and see on
l. 155.

1. 713. * Keeping close with thy feet to the sea-sounding beach (of
the Euxine). The verb is best known in the passive, being used alone,
or with a dative. The active voice is here used in the same sense,
with a ‘cognate accusative’ of the instrument of motion. Cp. Baiveyr
dda, see also Soph. El. 721.

l. 714. ‘On the left hand. The genitive is used in such phrases
with or without éx.

1, 715. The Chalybes, workers in iron, really lived south of the
Black Sea. Scythia being an iron-producing country (cp. 1. 301), the
poet has placed them there. See on 1. 705.

1,717. See on L 705. For fs with an accusative cp. 1. 709,
also 1. 808.

l. 718. With the form of this line cp. 1. 333.

Il. 719, ao. Tpiv dv. See on l. 164. dpav wwrrov. So Herodotus
says that *the Caucasus is of all mountains both the greatest in extent
and the loftiest” Both in the height of particular peaks, and in the
unbroken elevation of the range, the Caucasus surpasses the * Alps’ of
central Europe. though it is far surpassed by the Himalayas. Neither
of these however were known to Aeschylus.

1.721. ‘Peaks, neighbours to the stars,’ is a bold and thoroughly
Aeschylean expression. The epithet is probably suggested by dorv-
ye( ovas.

l 722. ‘To the road leading to the south.’

ll. 724-7. al Geploxupav ... pynrputa véov. This is a parenthesis.
These Amazons, whom Io is to find south of the Caucasus (see on
1. 705), shall one day settle on the southern coast of the Black Sea.
The country of the Amazons was commonly placed somewhat further
east, in Colchis.

1, 726. Salmydessus was on the same sea, but on the European side
of the (Thracian) Bosphorus, and thus far west of the Thermodon.
The name was given to the coast between the promontory of Thynias
and the Bosphorus; and from the dangerous character of it and its in-
habitants the whole sea got the name of Ilóvros dfevos, afterwards
changed, by euphemism, (see on 1. 490) to Evfevos (hospitable). yvé0os,
because it devours ships (cp. 1. 64 and 1. 368).

1.727. ‘Step-mother of ships,’ because of the unmotherly reception
which it gives them (cp. ‘ Injusta noverca, etc.).

l. 729. For the accusative after ñËeus cp. 1. 709, etc. io Opov, i. e.
the Isthmus leading to the Crimea. arvAais, the Straits, i.e. the Cim-
merian Bosphorus. Alpvys, the Sea of Azof, ‘which the ancients, con-
sidering its shallowness, and the fact that its water is almost quite fresh,
more appropriately called a marsh. (Bryce, ‘Transcaucasia and Ararat.’)

76 NOTES,

L 731. atAgwa. The Straits above-mentioned, across which Io is to
swim.

L 733. Béowopos. ‘The ford of the Cow-maiden’ (cp. Ox-ford).
Observe that in all other compounds of Bovs the diphthong is preserved.
émavupos. See on L 8s.

L 734. xexA ceras, the future of the perfect, the sense of which it
retains. ‘Shall have been called,’ L e. ‘shall be called for ever.’ Cp.
1. 840.

L 735. Cp.1 7o9. pa. Here he appeals to the Chorus: * Do
ye or do ye not now think that the tyrant of the Gods is violent im all
ways alike (i.e. in the case of Io as of myself)?’ It is clear that Io has
now for the first time been brought into Asia, and that her passage
thither is a climax in her cruel treatment.

l 739. Here he tums to Io again: * A cruel suitor for thy hand in
marriage. pvhornp sometimes takes a genitive of the person, as
co

L 740. ‘As to the tale which thou hast now heard, believe that it
has not yet even reached the preface.’

l 743. 5 að. ‘What? dost thou cry and groan?’ Seel. 67. ~i
zov. ‘I wonder what thou wilt do when,’ etc.

l. 745. The Chorus, horrified at what they have heard, ask if any-
thing worse can possibly be in store for Io. The reply is chilling.
Aovróv . . . mypárwv. Cp. L 684.

1. 746. ye, of assent, cp. 1. 518 and below 1. 768. ‘ Yes, a very wintry
sea of woe and ruin.’ ‘lhe metaphor is a natural one, and is common
in Aeschylus and Sophocles. Cp. Soph. O. C. 1240, Antig. 586.

l. 747. GAN’ ote, i. e. dAAd +Í oùx. * Why did I not hurl myself (a
second ago when I began to speak)?’ See on 1. 129.

l. 750. Saws atrmAAdyny. ‘That I might have been set free” The
past tense of the indicative is used with Stews because the main wish is
for something out of the question. See on 1. 156. With this wish of
Io's, compare that of Prometheus at 1.152. Observe that she could
not kill herself because she lacked resolution, he because he was
an immortal (1. 753).

l 753. St. ‘Seeing that to me,’ see on 1. 38 and cp. 1. 759. For
qrempoyévov see on l. 518.

1.754. ‘For that would be (at this time of speaking) a release from
my woes.'

l. 755. 86 answers to piv in l. 753; but the sentence begins afresh
after the parenthesis (l. 754). — Tépga ... mpoke(gevov. Cp. l. 257.

l. 756. piv dv. See onl, 165.

l. 757. €orw. ‘Is it possible?’ etc. Io is astonished at what seems
to be implied in Prometheus’ last words. With the whole of this dia-
logue compare that beginning at 1. 507.

PROMETHEUS BOUND. 77

1, 758. oluax. * I think (from the way you say that) cvpbopdv,
the event, issue, i. e. the fall of Zeus.

l. 759. was 8 otk Av (sc. H8olunv) ; ms, see on 1. 753. éx Ads,
* At the hand of Zeus? Cp. l. 221, and the use of pds in 1. 704.

l. 760. The sense is ¿rel gor: ráOe, mápeorí cor padeiv ori ¿cri (rade).
With this use of és cp. the phrase ds &3° ixóvrov.

1. 761. TOpavva for rupavvuá. So Túpayya Spay in Soph. O. T. 588.
For the construction see on L. 171.

l. 762. As the danger was to be averted (see Introduction) from
Zeus, this answer to Io’s direct question scarcely conveys the truth.
We may observe that Prometheus, in speaking of this intended marriage
with Thetis and the danger to arise from it, does not himself use the
future tense, but the present, which, while it conveys prophetic intima-
tion, does so with some mystery and reserve. See on 1, 171.

l. 763. el ph ms BAGBY. Cp. 1. 197.

1. 765. In this question Io touches the very point. It was the mar-
riage with a mortal which was to endanger Zeus.

1.767. The verbs are prophetic presents (see above on 1. 762), but
as their forms in the future are the same, there is an ambiguity.

1. 768. ye, of limited assent: * Yes, in the sense that she shall bear.’
Cp. 1. 746.

l 769. ‘This and the lines which follow should be carefully observed,
since they contain the key to the future solution of the plot. (See
Introduction, p. xii.)

1. 770. &v is not to be taken closely with Av@ets (‘if I were released’),
but with the sentence generally: * There is no way of averting the
danger, except in the possibility of my being released.’ Thus &v points
to an implied condition, el AvOeigv yù, dwoorpop? hy ein, See on l. 10.
But see Appendix.

l. 772. xpeóv (sc. éori); the first item of information as to the
deliverer.

l. 773. Io is staggered to find how this news connects her fate with
that of Prometheus.

1.774. For ye cp. l. 768. “Ves, thy descendant in the thirteenth
generation,'—literally, ‘the third in descent, in addition to ten other
generations. There is no natural difference in sense between yévva, and
ovi) (cp. 1. 853). The line is somewhat oracularly expressed, and so
it strikes Io. |

l. 775. oùkér’. It had seemed clear until these last details were
added. ev&vpPAnros, *easy to guess,’ for ebfvpBoros.

1.776. Cp. 1. 624.

l. 777. etra is not strictly temporal; if it were, the participle must
have been mporeíyas. * Do not, while you proffer me a boon, yet defraud
me of it.’

78 NOTES.

1. 778. 60arétpo. ‘One or other of two boons? The article is used
because, if one of two things is rejected, the other becomes definite.
See on 1. 555.

1. 779. 8(5ov, present imperative, ‘ Offer.’

l. 780. ‘Choose whether, etc. 4 for efre, as often in Homer.
vróvov Td. Aoumd, see on l. 634.

1. 782. tobvrwv, ‘of these boons’? Se, i.e. to Io.

1. 783. ‘Do not deprive me of the compliment ofa story, lit. “do
not dishonour me in the matter of a story.' Cp. Soph. Antig. 22, where
the same verb is used.

1. 784. Y€Yeve. Cp. 1. 193.

1. 785. The Chorus are much more interested in hearing of Pro-
metheus' deliverer than of the future of his fellow-sufferer, although of
their own sex.

1.786. Addressed to Io and the Chorus.

1. 787. For the construction see on 1. 627.

1.789. ‘Enter it on the careful tablets of thy mind” The same
metaphor occurs in Eum. 275.

l. 790. *When thou shalt have crossed the stream which bounds
continents, The narrative is resumed from 1. 735, so that the stream
in question is the Cimmerian Bosphorus. In the remainder of this
speech Io's wanderings are concluded, and she is brought to rest at
Canopus on the Delta of the Nile. The intermediate points of the
journey are very obscure. Apparently she is taken first to the west of
Libya, (where the fabulous Cisthene and the Gorgons were,) perhaps
by a northerly and westerly route through central Europe to Spain,
and then across the Straits of Gibraltar. From the west of Africa she
would then go across the north of that Continent till she struck the
Nile. We cannot doubt that we have lost some, perhaps a large, part
of this account.

l. 792. móvrov qTepàca >dotefov, ‘passing along the shore of the
sounding sea :' i.e. the west coast of Africa, which we must suppose
that she has now reached. čs r’ dv. Cp. 1. 697.

ll. 793, 4. ‘The plains of Cisthene where the Gorgons dwell.’ Little
is known about Cisthene, which is said to have been in Libya, at the
end of the world. The Gorgons were daughters of Phorcys, and are
described by Hesiod as -ypata:—hence Syvaral kópa.

l. 795. ‘ Possessing one eye amongst them.’

1. 796. The far West was spoken of as the region of darkness, þe-
cause of the gloom which follows the sunset (wort (ód$ov fjepóevra).

1. 800. é£et mvods, i. e. ‘ shall live.’

1. 801. ppovptov, ‘a garrison.’

l 802. Here he goes back to two terrors which Io must avoid, the
griffins and the Arimaspi.

a f
PROMETHEUS BOUND. "9

L. 803. ydp introduces the description of the 8ucyepis Oewpia. ‘What
I mean is, be on your guard against,’ etc. Observe the epithets
* sharp-beaked, unbarking hounds of Zeus;' i.e. creatures with the
ferocity of dogs, but which have beaks like birds and do not bark, and
therefore are not real dogs. See on 1. 880; for the griffin see on 1.
395.

l. 805. The Arimaspi are placed by Herodotus in the north of
Europe. If therefore the river which flows with gold mentioned in the
next line be, as has been thought, the Guadalquiver, Aeschylus is again
confusing distant regions.

1.807. For wéAafe cp.l. 712. The journey is now continued from
the coast of Libya.

l. 808. of, the antecedent (card: civeoww) is $Àov. ‘The fountains
of the sun ° perhaps only means ‘the place where the sun rises.’

1. 809. This river is thought to have been the Niger, which must
then be placed so far from its true position as to make it a boundary of
Ethiopia.

l. 810. ‘Follow its banks up (and then cross the intervening country)
until you come,’ etc.

l. 811. karaflacyóv, the fall of the Nile. There seems fo be a con-
fusion between the xaráðovro:, or Cataracts of the Nile, and the xara-
Ba0pós or ‘steep slope which separates Egypt from Libya. BvuBAlvav,
an imaginary name, formed from BúBÀos, the papyrus-plant.

l. 813. ovros, i.e. the Nile; Tp(yovov, i. e. the Delta.

l. 814. ob 83, ‘where at last.’ rv paxpdv åmowiav, ‘the distant
colony,’ i.e. distant from Argos: paxpds is occasionally so used. The
Colony is Canopus.

1. 815. wémpwrat, see on 1. 519.

1. 816. WeAAdv, ‘inarticulate, i.e. obscure. Prometheus wishes to be
plain (cp. 1. 609), and is ready to be cross-questioned.
` 1.817. * Do not fear trespassing on my leisure, for I have more than
I could wish of that.’ The humour and the courtesy of Prometheus
are well shown in this line.

1. 819. The Chorus are still impatient (cp. 1. 785) to hear about
Prometheus and his deliverer. nọ, ‘any detail in her wanderings.’
waperpévov, * passed over by you.’

1, 820. yeywvetv. See on ll. 523, etc.

1. 821. See on 1. 107.

1. 823. ‘I think you remember what it was.’

1. 826. More fully d«fj«oe mácav Tijv avroð mépecay péxp ToO TépuaTos.
See on 1. 284. He has finished the story of her wanderings, but there
is more to come; the restoration of Io to her senses, the fortunes of her
descendants, and lastly, the birth of that descendant who is to deliver
him. Thus the two stories flow together, and Io and the Chorus are

8o NOTES.

both gratified (see 1. 844). But before he reaches this the climax of
his prophecy, he turns to Io, and tells her an incident of her past wander-
- ings, this proof of his knowledge being intended to dispose her mind to
believe what was yet to come. Saws Gv, see on l. 10, and for the
construction of the participle, on 1. 62. `

1. 825. For other constructions of mpiv see on 1. 165.

1. 826. We should rather expect the present participle 350s, but the
idea in his mind is that when ke has given the proof he shall be
believed.

1. 827. ‘I will omit the bulk of what I might say, and will proceed
to the very end of (that part of) your wanderings, (i. e. from Argos to
Dodona).

l. 830. * Dodona on its lofty ridge surrounded by the Molessian
plains.’ .

1. 831. * An incredible wonder, the speaking oaks.’ The oracle was
given from these oaks by the mouth of two doves. Soph. Trach.
171.

1. 833. See 1. 663. `

1. 835. This line is possibly an interpolation; if retained, it should
be construed * (the wife) that was to be; does aught of this steal back
into your memory?’

1. 836. olotphoaca, ‘having become possessed by the gadfly.’

1, 837. kéXevOov, cognate accusative after q£as. The ‘great gulf of
Rhea' is the Adriatic.

1. 838. * From whence thou art to be tossed (see on 1. 171) by wander-
ing backwards and forwards,’ i. e. along the coast of the Adriatic.

l. 840. See on 1. 733. The first syllable of 'Iówos is long, and the
fourth foot is therefore an anapaest, which is admissible, being part of a
proper name.

il. 842. Tá8e, his knowledge of the incident just described.

l. 843. * That it (my mind) sees somewhat more than meets the eye.'
He really means that it sees a great deal more.

1. 844. See above on 1. 824.

1. 845. ‘ Having taken up the scent of my old story. Two construc-
tions are blended, (1) eis raùròv éA0ív rots máar Ad-yous. (2) €AOQv eis
TO ixvos TYv máa Adyov.

1. 846. The city Canopus is thus supposed to exist before the colony
is founded there by Io's children.

1. 847. * At the very mouth of Nile, on the alluvial ground there.’

1. 848. évraüOa 543, ‘there at last” Cp.1.814. rlOnow éudpova,
cp. 1.444. The tense is again the present of prophecy.

1. 849. ‘Stroking thee with hand which shall not scare, and by a
mere touch.’ The aorist participle expresses the instantaneous nature
of the touch.

D “Wa Cu.

PROMETHEUS BOUND. 8I

1. 850. * Taking his name from the creative touch of Zeus’ (Epaphus
from éwadGv). But see Appendix.

l. 852. mÀarúppovs, cp. ebmorov óéos in 1. 812.

1. 853. The fifty daughters of Danaus, who was great grandson of
Epaphus. For yévva cp. l. 774.

1. 856. The cousins were the fifty sons of Aegyptus. The flight of the
daughters of Danaus, and their reception at Argos, is the subject of
Aeschylus" play * The Suppliants.’

1. $56. ol 82, Epic for oro: Bé. &rronpíévo, ‘in a quiver,’ the
epitbet is appropriate to the simile of the hawks which follows.

L 353. AcAappévor, with genitive, ‘left behind by,’ i.e. the pursued
had not 2 Song start.

l. 859. The meaning of this line is doubted. It is best taken, ‘ the
` god shall judge them the persons (of the maidens).’

lL 861. Gapévrov (i. e. ray veð). For this suppression of the sub-
stantive ‘a the genitive absolute cp. Soph. Antig. gio. vuridpouphry,
see on l. 109. — "Ape, instrumental dative after Sapévrwv. Aeschylus
passes rapidly over this horrible deed.

1. 867. aidvos orepet. The deed is stated in the barest possible words.

1. 867. e$ayotot, ‘the throat.’

1. 864. With this dreadful wish cp. Virgil's milder *Di meliora piis
atque srrorem hostibus illum !'

1. 865. This was Hypermnestra. Cp. Horace, Od. 3. ar. 3o-end.

1. 867. Odrepov, ‘the one, (rejecting the other). See on L 778. .

1. 868. wxAvev dvaAxus, ‘to be called a coward.’ So with adverbs,
wAvew eð, ‘to be well spoken of,’ etc. Compare Horace, Sat. 2. 6. 20,
* Matutine pater seu Jane libentius audis.’

1. 869. And so shall be the ancestress of Alcmena and Hercules. Cp.
1. 772.

1, 870. Here, and in 1. 876, the infinitive is ‘epexegetical,’ i.e. added
to explain radra, and show in what sense ‘these things’ require a long
time. dove with the infinitive would be more usual. Cp.l. 5.

L 871. ye yv, ‘however, to come to the point.’ Cp. the use of 3’
ow in 1. 226 after a digression.

1. 872. I. e. Hercules.

1. 874. For the mother of Prometheus see on L 210.

1. 875. See above on 1. 870. We know that a large part of the play
of the * Prometheus Unbound ° was taken up with directions to Hercules
* how and where' to release Prometheus.

1. 877. Io, in the interest of listening, has forgotten her torments ;
now a fresh paroxysm begins.

1. 877. 4ÀeA€0, a wild cry, here of pain. oddxeAos, ‘a convulsion,’
cp.l. 1046. tad belongs to šzo09&Amouc:.

1. 880. ‘The arrow point not forged with fire, i.e. not a real arrow

G .

84 NOTES.

point, but the sting of the fly. This is a good instance of a striking
sort of metaphor, of which a slightly different example was noticed on
1, 803; to the metaphorical word is attached an epithet, showing, by
the absence of some well-known property, that the use is only meta-
phorical. So in Soph. O. T. a plague is called ‘an Ares without
brazen shield,’ and in the Book of Wisdom the Egyptians are said to
have been ‘shut up in a prison without iron bars (i.e. of darkness).
For xple see on 1. 597. f il

1. 881. ‘In my fear my heart kicks against its walls’ (lit. the midriff).
So Macbeth, * And make my seated heart knock at my ribs.’ The Greeks
were accustomed to this physiological way of describing the passions.
Cp. Agam. 995.

1. 882. *poxobwetra, a word probably coined by Aeschylus. Cp.
orpopodwovvra, Agam. 8I. .

1. 883. dw... 6pópov, ‘out of a straight course) The phrase is used
more than once by Aeschylus metaphorically; here it has also a literal
application to Io's wild course.

l. 884. yAdoons dxparijs, ‘losing power over my tongue, explained
by next line.

l. 885. The metaphor is of a turbid river meeting the strong waters
of the sea. Woe is the sea (see on 1. 746); the other part of the meta-
phor is bold and unusual elf, because she was yAéooys departs.
Cp. l. 450.

1 887. Io now leaves the stage; and the Chorus in a short ode, which
should be compared with the last (ll. 526-560), draws the moral from
her ill-matched union with Zeus and its consequences.

1. 887. * A wise, a wise man was he, who first did weigh this in his
mind, and give it utterance with his tongue, that to marry in one's own
degree is far best.’

l. 890. kað’ daurdv, ‘according to one's own standard. We have
had covert references to popular sayings or yy@gu, as in 1. 39 and 1. 309.
Here we have an express quotation. This saying, ‘wed in your own
rank,' is found also in other forms. .

l. 891. Here follows an amplification of the original yrwpy. ‘ Neither
the rich nor the highborn should be sought in marriage, when one lives .
on the labour of one's hands.'

l. 893. Svra xepvfrav, in apposition to Tva, the subject to ¿paore0cdrax.
Yépov is sometimes, as here, found with a genitive of the person. Cp.
Tov cov yapor in l. 739.

1. 895. Motpa, see on 1. 516. Aexéwv Ards eivdreipay, ‘the con-
sort of the bed of Zeus.’ qréAovcav, i. e. oda.

1. 896. wAaGelnv, ‘may I approach (in marriage)” For weddfw see
on l. 155. Twl rv ¿Ë oùpavoð, ‘any (other) of the gods of
heaven.’ . f

nw

PROMETHEUS BOUND. 83

1. 898. The reason for the prayer just finished is the sad spectacle of
Io. ác'Trepyávopa, ‘ without wedded love.’

1. goo. * By the sad, wild, painful wanderings which Hera sent thee.’
harcias mévwv would be, more simply, dAaredw móvou. Here the
antistrophe ends: the remainder of the Chorus perhaps forms another
strophe and antistrophe.

l. gor. pèv corresponds to pyôè in the next line. êpot, belonging
strictly to the first clause, comes somewhat out of place, being put first
for prominence. “For myself, because my marriage is (will be) with
my equals, I have no present fear ; and I pray that the eye of none of
the greater gods may look upon me (as that of Zeus has upon Io) The
nymphs of the Chorus were living as unmarried daughters in their
father's house (1. 130); when they speak of their marriage, therefore, it
must be in the future.

1. go4. * This (resistance to a god-lover) is a war which none should
wage. ye emphasises 66e. There are two points to be noticed in
mopa mópıpos: (1) móptpos, the verbal adjective of wopeiv (see on
1. 108) used, like a participle, with an accusative case ; (2) there is an
apparent incongruity in sense between the two words; you expect
vópovs rop[Çouca, and you have dopa sopíQjovca. Compare the figure
of apeech noticed on 1. 62, and translate, * Rich in the wealth of de-
spair.'

1. 905. ‘I know not what would become of me’ (were such a love
to overtake me). With this and the next line compare the less regular
constructions inl. 291 and 1.470. rls for Šcrus.

l. 907. Prometheus breaks into exultation at the thought of the
deliverance which he has prophesied, and defies Zeus and his vaunted
thunderbolt. — 4j phy. See on l. 167, and compare that passage
generally.

l. 908. rotov. See on l. 96, and cp. l. 920. (Ofor, the reading
which has most authority, would mean 671 Toiov).

l. 909. ôs, i.e. the issue of the marriage, relative xarà obveowy, as in
1l. 808. For this marriage cp. 1. 764.

l. 9g10.. See Introduction, p. i.

l. 912. fjv, cognate accusative after ‘pio. The antecedent is ápá.
For 8yvatov cp. 1. 794.

l. 913. Cp. 1. 769.

l. 915. XQ tpdme, sc. Bet yevéoðaı aürá. — mpós Tao, ‘therefore,’
‘in the face of that.’

1. 916. The language is scornful in the extreme, especially the epithets.
méSaporot, cp. 1. 269.

l. 918. oùðèv, ‘in no wise +d pi od mecetv, ‘so as not to fall.’
Really an accusative of result (cognate acc.) after émapxéoe. For the
double negative see on 1. 627.

G 2

84 NOTES.

1. 919. wrépara, a cognate accusative in the strict sense of the term,
as is *ápor in L 909.

L 920. viv. By his present perverseness Zeus is sowing the seeds
of future trouble, and preparing the way for this foolish marriage.

L 921. én’ abrés abrg. For the inversion of the order of words see
on L. 276, and for ém on l. 97.

L 922. 6s 84, * He it shall be who,’ etc. As this child never came to
the birth (see Introduction, p. xii), the prophecy here is somewhat too
confident. See on L. 762.

l. 924. Prometheus heaps contempt on the insignia of the Olympian
sea-god, as above on the thunder of Zeus. Compare the Homeric
évvooiyaos, ¿yocíx0ay. For vócos see on l. 685.

1. 927. The sense is * how far apart is ruling from serving. But the
Greek words are joined by copulative instead of disjunctive particles.
See on 1. 555, and cp. Soph. O. C. 808.

1. 928. The Chorus try to calm his angry mood. This is the con-
ventional function of the Chorus,

* Regat iratos et amet pacare tumentes,'
but in this case it is thoroughly in keeping with the personal character
of the Ocean -nymphs. . 64v, used much like 35), but almost ex-
clusively an Epic word. & xppfeus, i. e. * your wish is father to your
evil prophecies.'

l. 929. reÀétras, things which are in process of being accomplished.
arpds, adverbial, ‘moreover. Cp. 1. 73.

l. 930. ‘ But is one really to expect,’ see on 1. 253.

l. 931. xal rôve, ‘even than what I now offer.’ ye emphasises
TavBe. . l
1. 933. @ in the sense of grin (see on 1. 38). ‘Seeing that to me,’
etc. For pdpourov see on 1. 516.

l. 935. * Well then let him do it” For this use of 8’ otv, in defiance,
cp. Soph. Ajax, 961. For another use of 8 otv see above 1. 226.

l. 936. ‘The Goddess from whom there is no escape’ (å, d:dpd-
oxo), i.e. Nemesis. Either from this passage, or from some earlier
saying to which Aeschylus here refers, tpooxuveiv '"Ab5páoreuav, ‘to
deprecate Nemesis’ for what one does or says, passed into common
speech.

l. 937. Sarcastic. ‘Go on flattering him who for the hour is lord!”
in full, det Omre TÓv del «paroüvra. For the present imperative cp.
l 82. Prometheus is led by his anger into a reply to the timid sugges-
tion of the Chorus which is less courteous than his general language to
them, and will be seen in the sequel to be undeserved.

1, 938. À pm8ëv, we should expect od8ty, but p+m82v (usually rà um82)
is often used where there is an idea of a really existing ‘nothing,’ here
‘a snap of the fingers,’

PROMETHEUS BOUND, 85

l. 939. The imperatives are sarcastic. ‘This his short time.’ Yet the
time covered thirteen generations of mortal men.

1. 940. Sapdv, cp. 1. 648. dpe 0eots, cp. 1. 49.

1.941. Here he is aware of the approach of Hermes. ^ Tpóxw, the
* runner,’ * lackey.’

l. 943. vávros, ‘assuredly,’ cp. l, 16. These new gods are always
innovating and harassing. Hermes must have come to announce
some new change.

l.944. Hermes appears as the minister and trusted messenger of
Zeus; whose character he reflects, though his language has some of the
eloquence and dignity usually attributed to the messenger God. As he
has heard Prometheus' last words, the severity of his address is not
uncalled for. codiorhy. See on l. 62.

1. 945. * Who sinned against the gods by giving honour to mortal
men.” Cp. lL. 108.

1. 946. Aéyo, ‘I mean,’ i.e. ‘my message is to thee.’

1. 948. mpds dv, the antecedent is some persons supplied ward ouveow
out of yápovs. For mpds cp. 1. 92, 1. 761, or 1. 767. With qyápow the
preposition would naturally be ëd.

l. 950. at@ tac, ‘the very details of it all.’

1. 952. Tots rovovrots, * by such words, threats, as yours.’

1. 953. ye, ironical, as inl. 335. ‘Yes, the speech is well rolled out,
and full of pride, quite right from a servant of gods!’

l. 955. Soxetre Sj, ‘and you really think. to dwell in your towers
without sorrow !'

l. 957. Uranus and Cronus. See Introduction, p. i.

1. 960. bémomrfjocev, cp. 1. 29.

l. 961. ye in its common sense of ‘ least.’ ‘I am along way at least
from that, aye, all the way that is” Cp. such phrases as fj re $ ovdey,
‘a very little if not nothing at all.’

l. 962. x&XevOov and ñvrep, cognate accusatives.

1. 964. * Remember that it was by like acts of self-will that you got
into your present troubles.'

l 965. xaSapprcas. Nautical metaphor. See on l. 84.

1. 966. * Trouble or not, I would rather be myself than be what you are.’

1, 968. *For'tis better, as I think, to serve this rock, than to be a true-
born, trusty messenger to Father Zeus ; i. e. ‘my Aarpeía is better than
yours. ivu, sarcastic.

1. 970. ‘If that be insolence, it is only what those must expect who
insult others.’ He excuses his cutting words.

1. 971. xAvBav, ‘to exult in.’ éml with the dative is also found after
this verb.

- 1.972. * Well, if this be exultation, may such exultation be the
portion of my enemies!’ Cp. 1. 864.

86 NOTES,

1. 974. Évjdopais, “on account of your misfortunes,” instrumental
dative.

1. 976. Cp. L. 438, etc.

l. 977. ‘From what I hear, your madness is no light attack” vócov,
cognate accusative after pepnvéra.

1. 978. €i voonpa, sc. em.

1. 980. róðe . . rotwos, sc. duoi. Contrary to Aeschylus’ usual
practice this line is divided between two speakers.

l. 981. * Yes, but time may teach him many lessons, the use of that
word among them.’

l. 982. kal pòv, in rejoinder, ‘and yet.’

l. 983. *No, if I had learnt all time has to teach in the way of
prudence, I should not at this moment be wasting words on a mere
servant like you.’

1. 985. * And yet if I owed him a favour, I would be ready to pay it.’
ye emphasises é¢elAwv.

1. 987. Taking up the idea of 1. 985, Prometheus tells Hermes that
he, on his part, is even sillier than a child, if he expects to learn anything
from one who owes Zeus no favours.

1. gg1. mpiv dv. See on 1. 165.

1. 992. wpds ta0ea, ‘therefore,’ ‘in the face of this defiance.’ Cp.

1. 995. Gore kal párar ‘as to go on to say.’ etc.

1. 996. mpds ob. Cp. 1. 761.

l. 997. Tatra, * your present conduct.’

1. 998. Compare his language at 1. ror.

L 999. TóÀumoov, ‘take heart to,’ ‘make up your mind to.’ Cp.
l. 16. wore, ‘at last’ (aliquando).

l. 1000. ‘In view of your present woes.’ Cp. mpòs raîra above.

1. 1002. kôp’ Saws mapnyopóv, ‘as though you should try to talk
over a wave. Cp. Horace, ‘Surdior Icaro.’ ‘ Let it never occur to
thee that,’ etc. For pù with aorist imperative cp. 1. 333.

1. 1004. ‘ Thy greatly hated foe,’ i.e. Zeus.

1. 1005. This line is characteristic of Aeschylus. Cp. Agam. 920.
The Greeks had a horror of the gestures which barbarians used
largely.

1, 1006. rot wavros éw, cp. l. 961.

l. 1007. ‘ For all the words which I speak, I seem likely to speak
them all (lit. even) tono purpose.’

l. 1009. * Like a newly-bitted colt who has (aorist participle) taken
the bit between his teeth.'

l. 1010. Not yet $«Afjvios (1, 465).

l. rorr. ye emphasises the word before it, much as in 1. 268. * You
rely upon a device, but know that it is an impotent one.’

PROMETHEUS BOUND. 87

1. 1013. odSéyos péov, * less than nothing. Cp.1. 938.

l. 1014. aéja, ° consider for yourself,’

l. 1015. tpicupla, ‘a mighty wave, each third wave being by the
Greeks considered as greater than the two preceding. Cp. Latin
*fluctus decumanus.’ For the general metaphor see on 1. 746.

1. 1016. ‘ First this rugged gully shall be shattered, and thy frame
shall be covered by the ruins, in the midst of which a mere ledge (lit.
arm) of rock shall bear thee up.’

1. 1021. vot, emphatic. Cp. 1. 8.

1. 1022. A dog, but a winged one, and therefore not a real dog; see
on l. 803. Eagles are called * winged hounds’ in Agam. 136, 84-
Qowos, ‘ravening.’

l. 1023. *Shall tear thy body in mighty rents.'

l. 1024. * The eagle shall be a guest, but one who is not bidden, and
one who stays àll day.’ See above on 1. 1022, and for the particular
metaphor Agam. 731.

]. 1025. weXawdBpwrov, ° black from being gnawed.’

l. 1027. Tpiv Gv, see on 1. 165. Ouáboxos, a ‘successor,’ *substi-
tute.” Cp.1.464. See Introduction, p. xii.

l. 1030. wpds TaOTa, ‘therefore.’ Cp. 1. 915.

l. 1031. kal Alav, sc. ¿An0@Q8.

l. 1034. Cp. 1. 334.

1. 1036. Hermes has now exhausted all his powers of persuasion, and,
though still speaking in the tone of authority, has really done his best
to persuade Prometheus to abate his obstinacy. He has made a
favourable impression on the Chorus, who now speak for the first time
since his appearance.

1, 1036. oix ákaipa, ‘much to the purpose.’

:l. 1037. A summary of Hermes’ argument, much in the same words
with which he ended.

1, 1038. ‘ The wiser course of prudence. The article is used because
this wise course is opposed to the opposite one of aü0a8ía, as though a
choice must be made between them. See on l. 778.

1. 1039. An ‘argumentum ad heminem.’ ‘To a wise man like you
it is nothing short of a disgrace to blunder.’

l. 1040. ‘I well knew all the message which he proclaimed so loudly.’
For the construction see on l, 23. For ¿06%tev, cp. 1. 73. The word
shows temper. Cp. óxAeis, 1. 1001.

l. 1041. ‘That enemy should fare badly at the hands of enemy is
nothing unreasonable.’ Prometheus shows himself throughout a * good
hater. Cp. ll. 972, 978, etc.

l. 1043. mpòs raðr’. Cp. 1. 915.

1. 1045. Bócrpuxos, ‘the wreathing flame of fire. dpoirns, ‘ two-
edged, jagged (of lightning) :' the whole phrase is a bold one.

88 NOTES,

1. 1046. ‘The convulsion of angry winds.’ Cp. 1. 878.

l. 1047. aùraîs plfars, ‘roots and all.’ See on 1. aar.

1. 1048. Observe the optatives. From the mood of mere defiance he
has passed to an actual wish that the great struggle of the elements
may begin, ‘Oh, that the wind might shake,’ etc.!

l. 1049. The subject to £vyxóceev is 7d sweüpa.

1. 1052. ‘In the stern whirlpools of Necessity.’ See on 1. 514.

l. 1053. ‘Do what he will he will never bring me at least to death,’
(because Prometheus was immortal). fpe ye, i.e. whatever he may
do to his creatures such as men.

l. 1054. * But these are the ravings which you may hear from mad-
men.’ This is addressed to Chorus, to whom Hermes now addresses
himself in persuasion.

L 1056. ‘For what is his case short of actual raving?’ For the
negative cp. 1. 248.

1, 1057. th xaA@ pavdv; ‘In what does he abate his frenzy? For
the verb cp. 1. 58, and 1. 256. It seems to be intransitive in the latter
passage, and here.

l. 1058. * But do you at any rate. Cp. 1. 1070.

l. 1060. I.e. ueraxopetré wot, ‘go away, anywhere you please.’

l. 1061. pù, i.e. fva ph. So often in cautions.

l. 1062. drépapvov. Cp. 1. 190.

1, 1063. The Chorus indignantly reject the counsels of Hermes.
‘Choose some other kind of speech and exhortation (if you must needs
exhort me)—some kind by which you will persuade me!’ Cp. 1. 522,
ddAou Adyou péuvnobe.

1. 1064. * For methinks this which thou hast dragged in out of place
is wholly unbearable.’

1. 1067. The Chorus express their unshaken resolve to stand by
Prometheus.

l. 1069. véeos, cp. 1. 685.

l. 1070. oð’, i.e. mpodocias. There is possibly an allusion to cone
temporary events in this denunciation of treason. åmémruoa. The
verb is chiefly used in this tense. Here the aorist is used of an habitual
act, ‘I loathe.’

l. 1071. GAA’ otv. Cp. 1.1058. ‘At least remember what I tell you
beforehand, and do not when caught in the toils of calamity, blame
fortune.’

l. 1076. * Do not, I adjure you, but (blame) your ownselves.’

l. 1078. For åmépavrov cp. l. 153; for the Net of Ate (Calamity)
see Agam. 360.

1. 1080. Prometheus himself takes up the word, and announces the
coming of the crash for which he had yearned (1. 1048). kal prj,
often used by dramatists where a new person comes on the stage, and

PROMETHEUS BOUND. 89

here to announce this great new phase in the strife between Prometheus
and Zeus. For other uses of kal piv cp. 1. 346, 1. 982.

l. 1082. ‘The echoing thunder from the depth bellows.’

l. 1085. * The whirlwinds roll up dust' (as though before some mighty
thunderstorm).

l. 1086. As though the winds were fighting, each against each, and
all against all.

1. 1089. *In such wise (i.e. as to cause these convulsions, cp. l. 96)
. comes the stroke of Zeus passing manifestly towards me, to spread

terror. 6Bov redxovea, not ‘frightening me,’ but, ‘intended to
create terror,’ (present participle).

l. 1091. pyrpòs épfjs. Here apparently Earth, but see on 1. 210,

1. 1092. * Air, who dost roll around for all alike the gift of light.’
With the last line of this appeal, and with its language throughout,
should be compared the first utterance of Prometheus (ll. 88-113).
See Introduction, p. iii.

90

APPENDIX.

4

. List of passages in which the text of this edition differs from that of
Dindorf's Second Edition, (Oxford, 1851).

1, 2. dBarov. Dindorf, from quotations of Aeschylus found in old
writers, reads dBporov. If Aeschylus wrote this, he had probably mis-
understood the phrase vif áBpórg in Homer, as though the adjective
meant ánáyOporros (cp. l. 20).

L. i7. éfopiáfew. D. has ebtopiáQew, a word which is found elsewhere,
and which contrasts well in sense with Bap. um

l. 49. érax0$. D. has ¿mpáx0n, which is the reading of the MSS.
If retained, it must be taken: * All things have been attained, except to
rule over the gods. But this should rather be wéspaxra:, and the sense
is not good in any case. émax64j is an old conjecture (Stanley's) which
has been received into many texts. Elmsley (Ed. Rev.) objects that
áx0ewós, not érax07s, is the tragic word.

1. 59. ópovs. D. has rópov.

1. 87. réxvys. D. has r/xgs, which is perhaps easier, but is found in
no MS.

l. 181. Starépos. D. has &dropos.

1. 248. D. has 8vyrovs y €ravca, x. 7. A.

l. 350. ópow. D. has ópow.

1. 371. D. reads Oeppots dmAdrov, k.T.A.

1. 426. áBapavrobérow. D. has áxapavrobérou, which is the word in
the MSS.

l. 427. 'ArÀav0'. D. has"ArAar.

1. 430. Šmooreváte. D. has óxàv oarevá(e.

1. 568. dAeve 88. D. has dAev 84.

l. 735. Amd’. D. has"Aci?,

l. 770. D. has où Sra, wAry ¿àr ¿yë 'x Seopav Avda.

1, 850. D. has éravupov Se rav Ads yérrny’ day, and places the
preceding line in square brackets.

evbetay Eprre Tvde, Kal modra er.
f opeádas fees rpàe rva&s , tv’ eYVAapoD
bpiuov xarazy(tavm, pj v avapricy
duoxeepépw Tréuduy, mveTpévas dvo,

gl

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